THE MODEPvN DRAMA SERIES 
EDITED BY EDWIN BJORKMAN 



-^/ 



THE GODS OF THE MOUNTAIN : THE GOLDEN 
DOOM : KING ARGIMENES AND THE UN- 
KNOWN warrior: THE GLITTERING GATE: 
THE LOST SILK HAT : BY LORD DUNSANY 



FIVE PLAYS 



THE GODS OF THE MOUNTAIN 

THE GOLDEN DOOM 

KING ARGIMENES AND THE UNKNOWN WARRIOR 

THE GLITTERING GATE 

THE LOST SILK HAT 



BY 

LORD DUNSANY 



NON'REFERT 




SVMVAD ♦ Q3S 



BOSTON 

LITTLE, BROWN, AND COMPANY 

1917 



l.o'^*^ 






Copyright, 1914, 
By Little, Brown, and Company 



All Dramatic rights reserved by 
the Author 



These plays are fully protected by the copyright law, all require- 
ments of which have been complied with. In their present printed 
form they are dedicated to the reading public only, and no perform- 
ance of them, either professional or amateur, may be given without 
the written permission of the owner of the acting rights, who may 
be addressed in care of the publishers, Little, Brown, and Company. 



1 ^ ^ (y^-O 



''7 



COMPOSITION AND ELEC TR OT YPING BY 
THE PLIMPTON PRESS • NORWOOD • MASS • U • S • A 
PKESSWORK BY S. J. PAREHILL & CO. BOSTON 



CONTENTS 

PAGE 

Introduction vii 

Chronological List of Plays xiii 

t The Gods of the Mountain 1 

The Golden Doom 39 
King Argimenes and the Unknown Warrior 61 

The Glittering Gate 87 

The Lost Silk Hat 101 



INTRODUCTION 

OBSERVATION and imagination are the basic 
principles of all poetry. It is impossible to con- 
ceive a poetical work from which one of them is wholly 
absent. Observation without imagination makes for 
obviousness ; imagination without observation turns 
into nonsense. What marks the world's greatest 
poetry is perhaps the presence in almost equal pro- 
portion of both these principles. But as a rule we 
find one of them predominating, and from this one- 
sided emphasis the poetry of the period derives its 
character as realistic or idealistic. 

The poetry of the middle nineteenth century made 
a fetish of observation. It came as near excluding 
imagination as it could without ceasing entirely to be 
poetry. That such exaggeration should sooner or 
later result in a sharp reaction was natural. The 
change began during the eighties and gathered full 
headway in the early nineties. Imagination, so long 
scorned, came into its rights once more, and it is 
rapidly becoming the dominant note in the literary 
production of our own day. 

The new movement has been called " neo-romantic " 
and " symbolistic." Both these names apply, but 
neither of them exhausts the contents or meaning of 
the movement which received its first impetus from 
Ibsen and which later found its typical embodiment 
in Maeterlinck, From this movement came much of 



viil INTRODUCTION 

the inspiration that produced the poetical re-birth of 
Ireland out of which has sprung the man whom I have 
now the pleasure of introducing to American readers: 
a man with imagination as elfish as moonlight mist. 

Edward John Moreton Drax Plunkett, Lord Dun- 
sany, is the eighteenth member of his family to bear 
the title which gives him a place in the Irish peerage. 
He was bom in 1878 and received his education at 
Eton and Sandhurst. In 1899 he succeeded his father 
to the title and the family estate in Meath, Ireland. 
During the South African war he served at the front 
with the Coldstream Guards. He is passionately fond 
of outdoor life and often spends the whole day in the 
saddle before sitting down at his desk to write late 
at night. 

His work proves, however, that he is as fond of 
spiritual as of physical exercise, and that he is an 
inveterate traveller in those mysterious regions of the 
partly known or wholly unknown where the imagina- 
tion alone can guide us. His first literary heroes were 
the brothers Grimm and Andersen. Then the Greek 
world of Olympians was revealed to him, making a 
lasting impression on his mind. But it was the Bible 
that gave him the limpid style which makes his most 
fantastic tales as real as government reports — or 
rather much more so. " For years no style seemed to 
me natural but that of the Bible," he said not long 
ago, '* and I feared that I would never become a writer 
when I saw that other people did not use it." 

For something like ten years he has been a pretty 
frequent and increasingly valued contributor to Eng- 
lish and Anglo-Irish periodicals. He has previously 
published five volumes r " The Gods of Pegana," 1905; 



INTRODUCTION k 

"Time and the Gods," 1906; "The Sword of Welle- 
ran," 1908 ; " A Dreamer's Tales," 1910 ; and " The 
Book of Wonder," 1912. All are collections of prose 
pieces that defy accepted classifications. They are 
fairy tales and short stories and essays and prose 
poems at the same time. 

The reader has only to take a brief glance at one 
of those works to make the astounding discovery that 
he is being introduced to worlds of which he has never 
heard before. Even the " Arabian Nights " have a 
clearly identifiable background of popular legend and 
myth. Nothing of the kind is to be found in the 
writings of Lord Dunsany. He may be said to have 
created a new mythology wholly his own. He is not 
only the master but the maker of the countries to 
which he takes us on such fascinating jaunts. His 
commonest name for them is the Edge of the World, 
but sometimes he speaks of them as the Lands of 
Wonder. This latter name is doubly significant, for 
the whole movement of which he forms such a striking 
manifestation has been defined as a " renascence of 
wonder." 

The names of places and persons appearing in the 
stories of Lord Dunsany are worth a study in them- 
selves. There are hundreds of them, giving evidence 
of an inexhaustible imagination; and each one of 
them is as aptly suggestive as if generations of men 
had been at work shaping them. To hear of Sarda- 
thion, the city built by the Gods of Old, is to see its 
domes of marble rising sky-high in the sunset-lighted 
air. To hear of Slith and Sippy and Slorg, the three 
thieves who went to the Edge of the World in quest 
of the Golden Box, is to feel as if one were dealing 



X INTRODUCTION 

with historical characters like Aaron Burr or Chinese 
Gordon. And as we learn more about them, these 
fanciful creatures of Lord Dunsany's brain assume 
still more familiar characteristics, as if they had been 
studied in some Irish village or English street. It 
is this fact that reveals one of the main secrets of 
Lord Dunsany's appeal: that behind all his exuberant 
imagination lies a solid basis of observation, enabling 
him to endow the most impossible adventures with a 
homely and convincing air. ,] 

The five plays contained in the present volume have 
all been produced on the stage. "The Golden Doom" 
and "The Gods of the Mountain" have been staged 
most successfully at the Haymarket Theatre, London. 
"King Argimenes" and "The Glittering Gate" have 
been given by the Irish Players, and "The Lost Silk 
Hat" has been put on by Iden Payne at Manchester. In 
America, the first three have been in the repertoire of 
Stuart Walker's Portmanteau Theatre, and " The Glitter- 
ing Gate " has been given by the Neighborhood Players. 

After seeing "The Gods of the Mountain," Frank 
Harris wrote: "It was one of the nights of my life; 
the only play, I said to myself, which meant anything 
to me in twenty years or more." Without sharing 
the opinion of Mr. Harris about the dramatic output 
of the last twenty years, I share fully his enthusiasm 
in regard to the play that caused his remark. The 
note struck in it is so distinctly new as to make one 
gasp as under a sharp shock. But the surprise turns 
quickly into pleasure such as only the originality of 
genius can confer. 

It is hard to define just what makes these plays 
what they are. But certain qualities are tangible. 



INTRODUCTION xi 

Their deep and rich symbolism is one. It is the kind 
of symbolism for which the advances of modern 
psychology has prepared us — the kind that is in- 
separable from life itself as we are only just beginning 
to understand it. Another quality is their capacity 
for suggesting at once the intimate unity and ap- 
palling vastness of life. In " The Golden Doom" the 
fate of an empire and a little boy's desire for a new 
plaything become linked as facts of equal importance 
in the web of fate. In " The Gods of the Mountain " 
we meet with an atmosphere of fatality comparable 
only to that found in the Greek dramas. The crime 
of hyhris, which to the Greeks was the " unforgivable 
sin," is here made as real to us as it was to them. 

But these remarks of mine about the inner signifi- 
cance of the plays should not tempt anybody into 
thinking them deficient in that element of formal per- 
fection without which they could not be classed as 
works of art. They are, indeed, " things of beauty," 
and their beauty inheres in their design as well as in 
their style. Through all of them the greatest possible 
economy of means has been observed, so that not a 
word, not a tone, not a gesture is wasted in obtaining 
the effect aimed at. The dialogue of Maeterlinck is 
suggested, but not more than suggested. The words 
spoken by the characters of Maeterlinck are often so 
vague as to be practically meaningless. The char- 
acters of Lord Dunsany speak as simply as those of 
Maeterlinck, but always sharply to the point; there 
can be no mistaking of what they mean, and that 
meaning serves always to carry the action of the play 
forward. And each play of Lord Dunsany's is an 
exciting adventure, conveying to the reader an exhila- 



xil INTRODUCTION 

rating sense of motion without ever descending to 
old-fashioned stage tricks for the production of that 
sense. This means that they combine to an extraordi- 
nary degree the qualities which make separately for 
theatrical or literary success. 

Edwin Bjorkman. 



CHRONOLOGICAL LIST OF PLAYS 
BY LORD DUNSANY 

The Glittering Gate, 1909 

Ejng Argimenes and the Unknown Warrior, 1911 

The Gods of the Mountain, 1911 

The Golden Doom, 1912 

The Lost Silk Hat, 1913 

The Tents of the Arabs, 1915 

A Night at an Inn, 1916 

The Queen's Enemies, 1916 

The Laughter of the Gods, 1917 



THE GODS OF THE MOUNTAIN 



PERSONS 



Agmar 

Slag 

Ulp 

OoGNo J- Beggars 

Thahn 

Mlan 

A Thief 

OORANDER ' 

Illanaun ■ Citizens 

Akmos 

The Dromedary Men 

Citizens, etc. 

The Others 



Scene : The East 



THE GODS OF THE MOUNTAIN 

THE FIRST ACT 

Outside a city wall. Three beggars are seated upon 
the ground, 

OOGNO 

These days are bad for beggary. 

THAHN 

They are bad. 
ULF (^an older beggar but not gray) 

Some evil has befallen the rich ones of this city. 
They take no joy any longer in benevolence, but 
are become sour and miserly at heart. Alas for 
them! I sometimes sigh for them when I think of 
this. 

OOGNO 

Alas for them! A miserly heart must be a sore 
affliction. 

THAHN 

A sore affliction indeed, and bad for our calling. 
OOGNO (reflectively) 

They have been thus for many months. What thing 
has befallen them? 

THAHN 

Some evil thing. 

ULF 

There has been a comet come near to the earth of 



4 GODS OF THE MOUNTAIN [act i 

late and the earth has been parched and sultry so 
that the gods are drowsy and all those things that 
are divine in man, such as benevolence, drunkenness, 
extravagance, and song, have faded and died and 
have not been replenished by the gods. 

OOGNO 

It has indeed been sultry. 

THAHN 

I have seen the comet o' nights. 

UI.F 

The gods are drowsy. 

GOGNO 

If they awake not soon and make this city worthy 
again of our order I for one shall forsake the call- 
ing and buy a shop and sit at ease in the shade 
and barter for gain. 

THAHN 

You will keep a shop? 

\^Enter Agmar and Slag. Agmar^ though poorly 
dressed, is tall, imperious, and older than Ulf. Slag 
follows behind him. 

AGMAR 

Is this a beggar who speaks? 

OOGNO 

Yes, master, a poor beggar. 

AGMAR 

How long has the calling of beggary existed? 

OOGNO 

Since the building of the first city, master. 

AGMAR 

And when has a beggar ever followed a trade? 
When has he ever haggled and bartered and sat 
in a shop? 



ACT i] GODS OF THE MOUNTAIN 5 

OOGNO 

Why, he has never done so. 

AGMAR 

Are you he that shall be first to forsake the calling? 

OOGNO 

Times are bad for the calling here. 

THAHN 

They are bad. 

AGMAR 

So you would forsake the calling? 

OOGNO 

The city is unworthy of our calling. The gods are 
drowsy and all that is divine in man is dead. (^To 
third beggar) Are not the gods drowsy? 

ULF 

They are drowsy in their mountains away at 
Marma. The seven green idols are drowsy. Who 
is this that rebukes us? 

THAHN 

Are you some great merchant, master? Perhaps 
you will help a poor man that is starving. 

SLAG 

My master a merchant! No, no. He is no mer- 
chant. My master is no merchant. 

OOGNO 

I perceive that he is some lord in disguise. The 
gods have woken and have sent him to save us. 

SLAG 

No, no. You do not know my master. You do 
not know him. 

THAHN 

Is he the Soldan's self that has come to rebuke us? 



6 GODS OF THE MOUNTAIN [act i 

AGMAR 

I am a beggar, and an old beggar. 
SLAG (with great pride) 

There is none like my master. No traveller has 
met with cunning like to his, not even those that 
come from ^Ethiopia. 

ULF 

We make you welcome to our town, upon which 
an evil has fallen, the days being bad for beggary. 

AGMAR. 

Let none who has known the mystery of roads or 
has felt the wind arising new in the morning, or 
who has called forth out of the souls of men divine 
benevolence, ever speak any more of any trade or 
of the miserable gains of shops and the trading 
men. 

OOGNO 

I but spoke hastily, the times being bad. 

AGMAR 

I will put right the times. 

SLAG 

There is nothing that my master cannot do. 
AGMAR (to Slag) 

Be silent and attend to me. I do not know this 
city. I have travelled from far, having somewhat 
exhausted the city of Ackara. 

SLAG 

My master was three times knocked down and in- 
jured by carriages there, once he was killed and 
seven times beaten and robbed, and every time he 
was generously compensated. He had nine diseases, 
many of them mortal — 



ACT i] GODS OF THE MOUNTAIN 7 

AGMAR 

Be silent, Slag. — Have jou any thieves among the 
calling here? 

ULF 

We have a few that we call thieves here, master, 
but they would scarcely seem thieves to you. They 
are not good thieves. 

AGMAB 

I shall need the best thief you have. 

\_Enter two citizens richly clad, Illanaun and Oo- 

rander. 

ILLANAUN 

Therefore we will send galleons to Ardaspes. 

OORANDEIl 

Right to Ardaspes through the silver gates. 
[Agmar transfers the thick handle of his long staff 
to his left armpit, he droops on to it and it sup- 
ports his weight; he is upright no longer. His 
right arm hangs limp and useless. He hobbles up 
to the citizens imploring alms. 

ILLANAUN 

I am sorry. I cannot help you. There have been 
too many beggars here and we must decline alms 
for the good of the town. 
AGMAE. (sitting down and weeping) 
I have come from far. 

[^Illanaun presently/ returns and gives Agmar a 
coin. Exit Illanaun. Agmar, erect again, walks 
back to the others. 

AGMAB, 

We shall need fine raiment; let the thief start at 
once, Let it rather be green raimentt 



8 GODS OF THE MOUNTAIN [act i 

BEGGAR 

I will go and fetch the thief. (^Exit) 

UliF 

We will dress ourselves as lords and impose upon 
the city. 

OOGNO 

Yes, yes; we will say we are ambassadors from a 
far land. 

ULF 

And there will be good eating. 
siiAG (in an undertone to Ulf) 

But you do not know my master. Now that you 
have suggested that we shall go as lords, he will 
make a better suggestion. He will suggest that 
we should go as kings. 

ULF 

Beggars as kings! 

SLAG 

Ay. You do not know my master. 
TJLF (to Agmar) 

What do you bid us do? 

AGMAR 

You shall first come by the fine raiment in the 
manner I have mentioned. 

ULF 

And what then, master? 

AGMAR 

Why, then we shall go as gods. 

BEGGARS 

As gods ! 

AGMAR 

As gods. Know you the land through which I have 
lately come in my wanderings? Marma^ where the 



ACT i] GODS OF THE MOUNTAIN 9 

gods are carved from green stone in the mountains. 
They sit all seven of them against the hills. They 
sit there motionless and travellers worship them. 

ULF 

Yes, yes, we know those gods. They are much 
reverenced here, but they are drowsy and send us 
nothing beautiful. 

AGMAR 

They are of green jade. They sit cross-legged with 
their right elbows resting on their left hands, the 
right forefinger pointing upward. We will come 
into the city disguised, from the direction of Mar- 
ma, and will claim to be these gods. We must be 
seven as they are. And when we sit we must sit 
cross-legged as they do, with the right hand up- 
lifted. 

ULF 

This is a bad city in which to fall into the hands 
of oppressors, for the judges lack amiability here 
as the merchants lack benevolence, ever since the 
gods forgot them. 

AGMAR 

In our ancient calling a man may sit at one street 
corner for fifty years doing the one thing, and yet 
a day may come when it is well for him to rise up 
and do another tiling while the timorous man starves. 

ULF 

Also it were well not to anger the gods. 

AGMAR 

Is not all life a beggary to the gods? Do they not 
see all men always begging of them and asking 
alms with incense^ and bells, and subtle devices? 



10 GODS OF THE MOUNTAIN [act i 

OOGNO 

Yes, all men indeed are beggars before the gods. 

AGMAR 

Does not the mighty Soldan often sit by the agate 
altar in his royal temple as we sit at a street corner 
or by a palace gate? 

ULF 

It is even so. 

AGMAR 

Then will the gods be glad when we follow the holy 
calling with new devices and with subtlety, as they 
are glad when the priests sing a new song. 

ULF 

Yet I have a fear. 
{Enter two men talking, 
AGMAR (#0 Slag) 

Go you into the city before us and let there be a 
prophecy there which saith that the gods who are 
carven from green rock in the mountain shall one 
day arise in Marma and come here in the guise 
of men. 

SLAG 

Yes, master. Shall I make the prophecy myself.? 
Or shall it be found in some old document.'* 

AGMAR 

Let someone have seen it once in some rare docu- 
ment. Let it be spoken of in the market place. 

SLAG 

It shall be spoken of, master. 

[Slag lingers. Enter Thief and Thahn, 

OOGNO 

This is our thief, 



ACT i] GODS OF THE MOUNTAIN 11 

AGM AR ( encouragingly ) 
Ah, he is a quick thief. 

THIEF 

I could only procure you three green raiments, 
master. The city is not now well supplied with 
them; moreover, it is a very suspicious city and 
without shame for the baseness of its suspicions. 
siiAG {to a beggar) 
This is not thieving. 

THIEF 

I could do no more, master. I have not practised 
thieving all my life. 

AGMAR 

You have got something: it may serve our purpose. 
How long have you been thieving? 

THIEF 

I stole first when I was ten. 
siiAG (in horror) 
When he was ten! 

AGMAR 

We must tear them up and divide them amongst 
the seven. (To Thahn) Bring me another beggar. 

SLAG 

When my master was ten he had already to slip 

by night out of two cities. 
OOGNO (admiringly) 

Out of two cities? 
SLAG (nodding his head) 

In his native city they do not now know what 

became of the golden cup that stood in the Lunar 

Temple. 

AGMAR 

Yes, into seven pieces. 



12 GODS OF THE MOUNTAIN [act i 

ULF 

We will each wear a piece of it over our rags. 

OOGNO 

Yes, yes, we shall look fine. 

AGMAR 

That is not the way that we shall disguise ourselves. 

OOGNO 

Not cover our rags? 

AGMAR 

No, no. The first who looked closely would say, 
" These are only beggars. They have disguised 
themselves." 

ULF 

What shall we do.? 

AGMAR 

Each of the seven shall wear a piece of the green 
raiment underneath his rags. And peradventure 
here and there a little shall show through; and 
men shall say, " These seven have disguised them- 
selves as beggars. But we know not what they be." 

SliAG 

Hear my wise master. 
OOGNO {in admiration) 
He is a beggar. 

ULF 

He is an old beggar. 

CURTAIN 



THE SECOND ACT 

The Metropolitan Hall of the city of Kongros, 
Citizens, etc. 

Enter the seven beggars with green silk under their 
rags, 

OORANDER 

Who are you and whence come you? 

AGMAR 

Who may say what we are or whence we come? 

OORANDER 

What are these beggars and why do they come here? 

AGMAR 

Who said to you that we were beggars? 

OORANDER 

Why do these men come here? 

AGMAR 

Who said to you that we were men? 

ILLANAUN 

Now, by the moon ! 

AGMAR 

My sister. 

ILI.ANAUN 

What? 

AGMAR 

My little sister. 

SLAG 

Our little sister the moon. She comes to us at 
evenings away in the mountains of Marma. She 



14 GODS OF THE MOUNTAIN [act n 

trips over the mountains when she is young. When 
she is young and slender she comes and dances be- 
fore us, and when she is old and unshapely she 
hobbles away from the hills. 

AGMAR 

Yet is she young again and forever nimble with 
youth; yet she comes dancing back. The years 
are not able to curb her nor to bring gray hairs 
to her brethren. 

OOKANDER 

This is not wonted. 

ILLANAUN 

It is not in accordance with custom. 

AKMOS 

Prophecy hath not thought it. 

SLAG 

She comes to us new and nimble, remembering olden 
loves. 

OORANDER 

It were well that prophets should come and speak 
to us. 

IliLANAUN 

This hath not been in the past. Let prophets 
come. Let prophets speak to us of future things. 
\_The beggars seat themselves upon the floor in the 
attitude of the seven gods of Marma, 

CITIZEN 

I heard men speak to-day in the market place. 
They speak of a prophecy read somewhere of old. 
It says the seven gods shall come from Marma in 
the guise of men. 

ILLANAUN 

Is this a true prophecy.'* 



ACT ii] GODS OF iTHE MOUNTAIN 15 

OORANDER 

It is all the prophecy we have. Man without 
prophecy is like a sailor going by night over un- 
charted seas. He knows not where are the rocks 
nor where the havens. To the mail on watch all, 
things ahead are black and the stars guide him not, 
for he knows not what they are. 

ILI.ANAUN 

Should we not investigate this prophecy? 

OORANDER 

Let us accept it. It is as the small, uncertain light 
of a lantern, carried it may be by a drunkard, but 
along the shore of some haven. Let us be guided. 

AKMOS 

It may be that they are but benevolent gods. 

AGMAR 

There is no benevolence greater than our benevo- 
lence. 

ILLANAUN 

Then we need do little: they portend no danger 
to us. 

AGMAR 

There is no anger greater than our anger. 

OORANDER 

Let us make sacrifice to them if they be gods. 

AKMOS 

We humbly worship you, if ye be gods. 
ILLANAUN {kneeling too) 

You are mightier than all men and hold high rank 
among other gods and are lords of this our city, 
and have the thunder as your plaything and the 
whirlwind and the eclipse and all the destinies of 
human tribes — if ye be gods. 



16 GODS OF THE MOUNTAIN [act ii 

AGMAR 

Let the pestilence not fall at once upon this city, 
as it had indeed designed to ; let not the earthquake 
swallow it all immediately up amid the howls of 
the thunder; let not infuriated armies overwhelm 
those that escape — if we be gods — 
popuiiACE {in horror) 
If we be gods ! 

OORANDER 

Come, let us sacrifice. 

lILLANAUN 

Bring lambs. 

AKMOS 

Quick! Quick! {Exeunt some) 
SLAG {with solemn air) 

This god is a very divine god. 

THAHN 

He is no common god. 

MLAN 

Indeed he has made us. 
CITIZEN {to Slag) 

He will not punish us, master? None of the gods 
will punish us? We will make a sacrifice, a good 
sacrifice. 

ANOTHER 

We will sacrifice a lamb that the priests have 
blessed. 

FIRST CITIZEN 

Master, you are not wroth with us? 

SLAG 

Who may say what cloudy dooms are rolling up 
in the mind of the eldest of the gods? He is no 
common god like us. Once a shepherd went by him 



ACT ii] GODS OF THE MOUNTAIN 17 

in the mountains and doubted as he went. He sent 
a doom after that shepherd. 

CITIZEN 

Master, we have not doubted. 

SLAG 

And the doom found him on the hills at evening. 

SECOND CITIZEN 

It shall be a good sacrifice, master. 
[Reenter with a dead lamb and fruits. They offer 
the lamb on an altar where there is fire, and fruits 
before the altar. 
THAHN (^stretching out a hand to a lamb upon an 
altar) That leg is not being cooked at all. 

ILLANAUN 

It is strange that gods should be thus anxious about 
the cooking of a leg of lamb. 

OORANDER 

It is strange certainly. 

ILLANAUN 

Almost I had said that it was a man spoke then. 
ooRANDEii (stroking his beard and regarding the second 
beggar) Strange. Strange, certainly. 

AGMAR 

Is it then strange that the gods love roasted flesh? 
For this purpose they keep the lightning. When 
the lightning flickers about the limbs of men there 
comes to the gods in Marma a pleasant smell, even 
a smell of roasting. Sometimes the gods, being 
pacific, are pleased to have roasted instead the flesh 
of lamb. It is all one to the gods; let the roasting 
stop. 

OORANDER 

No, no, gods of the mountains! 



18 GODS OF THE MOUNTAIN [act ii 

OTHERS 

No, no. 

OORANDER 

Quick, let us offer the flesh to them. If they eat, 
all is well. 

l^They offer it; the beggars eat, all but Agmar, 
who watches. 

ILLANAUN 

One who was ignorant, one who did not know, had 
almost said that they ate like hungry men. 

OTHERS 

Hush! 

AKMOS 

Yet they look as though they had not had a meal 
like this for a long time. 

OORANDER 

They have a hungry look. 
AGMAR (who has not eaten) 

I have not eaten since the world was very new and 
the flesh of men was tenderer than now. These 
younger gods have learned the habit of eating from 
the lions. 

OORANDER 

O oldest of divinities, partake, partake. 

AGMAR 

It is not fitting that such as I should eat. None 
eat but beasts and men and the younger gods. The 
sun and the moon and the nimble lightning and I — 
we may kill and we may madden, but we do not 
eat. 

AKMOS 

If he but eat of our offering he cannot overwhelm us. 



ACT ii] GODS OF THE MOUNTAIN 19 

ALL 

Oh, ancient deity, partake, partake. 

AGMAR 

Enough. Let it be enough that these have con- 
descended to this bestial and human habit. 

ILLANAUN (to AJcmOs) 

And yet he is not unlike a beggar whom I saw nc 
so long since. 

OORANDER 

But beggars eat. 

ILLANAUN 

Now I never knew a beggar yet who would refuse 
a bowl of Woldery wine. 

AKMOS 

This is no beggar. 

IliLANAUN 

Nevertheless let us oiFer him a bowl of Woldery 
wine. 

AKMOS 

You do wrong to doubt him. 

IliLANAUN 

I do but wish to prove his divinity. I will fetch 
the Woldery wine. (^Exit) 

AKMOS 

He will not drink. Yet if he does, then he will not 
overwhelm us. Let us offer him the wine. 
{^Reenter Illanaun with a goblet, 

FIRST BEGGAR 

It is Woldery wine! 

SECOND BEGGAR 

It is Woldery! 

THIRD BEGGAR 

A goblet of Woldery wine! 



20 GODS OF THE MOUNTAIN [act ii 

FOURTH BEGGAR 

O blessed day! 

MliAN 

O happy times ! 

SLAG 

my wise master! 

[Illanaun takes the goblet. All the beggars stretch 
out their hands including Agmar. Illanaun gives 
it to Agmar. Agmar takes it solemnly, and very 
carefully pours it upon the ground, 

FIRST BEGGAR 

He has spilt it. 

SECOND BEGGAR 

He has spilt it. {Agmar sniffs the fumes, loquitur) 

AGMAR 

It is a fitting libation. Our anger is somewhat 
appeased. 

ANOTHER BEGGAR 

But it was Woldery! 
AKMOS (kneeling to Agmar) 

Master, I am childless, and I — 

AGMAR 

Trouble us not now. It is the hour at which the 
gods are accustomed to speak to the gods in the 
language of the gods, and if Man heard us he would 
guess the futility of his destiny, which were not 
well for Man. Begone! Begone! 
ONE LINGERS (loquitur) 
Master — 

AGMAR 

Begone ! 

[Exeunt, Agmar takes up a piece of meat and 



ACT ii] GODS OF THE MOUNTAIN 21 

begins to eat it; the beggars rise and stretch them- 
selves: they laugh, but Agmar eats hungrily, 

OOGNO 

Ah! Now we have come into our own. 

THAHN 

Now we have alms. 

SLAG 

Master ! My wise master ! 

ULF 

These are the good days, the good days; and yet 
I have a fear. 

SLAG 

What do you fear? There is nothing to fear. No 
man is as wise as my master. 

ULP 

I fear the gods whom we pretend to be. 

SLAG 

The gods? 
AGMAR {taking a chunk of meat from his lips) 

Come hither, Slag. 
SLAG ingoing up to him) 

Yes, master. 

AGMAR 

Watch in the doorway while I eat. (^Slag goes to 
the doorway) Sit in the attitude of a god. Warn 
me if any of the citizens approach. 
\_Slag sits in the doorway in the attitude of a god, 
back to the audience, 
ooGNO (to Agmar) 

But, master, shall we not have Woldery wine? 

AGMAR 

We shall have all things if only we are wise at first 
for a little. 



22 GODS OF THE MOUNTAIN [act n 

THAHN 

Master, do any suspect us? 

AGMAB 

We must be very wise. 

THAHN 

But if we are not wise, master? 

AGMAR 

Why, then death may come to us — 

THAHN 

master! 

AGMAR 

— slowly. 

[All stir uneasily except Slag, wha sits motionless 

vn the doorway. 

OOGNO 

Do they believe us, master? 
SLAG (Jialf turning his head) 

Someone comes. 

[Slag resumes his position. 
AGMAR (putting away his meat) 

We shall soon know now. 

[All take up the attitude. Enter One, loquitur, 

ONE 

Master, I want the god that does not eat. 

AGMAR 

1 am he. 

ONE 

Master, my child was bitten in the throat by a 
death-adder at noon. Spare him, master; he still 
breathes, but slowly. 

AGMAR 

Is he indeed your child? 



ACT ii] GODS OF THE MOUNTAIN 23 

ONE 

He is surely my child, master. 

AGMAE 

Was it your wont to thwart him in his play, while 
he was strong and well? 

ONE 

I never thwarted him, master. 

AGMAR 

Whose child is Death? 

ONE 

Death is the child of the gods. 

AGMAR 

Do you that never thwarted your child in his play 
ask this of the gods? 
ONE (^with some horror, 'perceiving Agmar's meaning) 
Master ! 

AGMAR 

Weep not. For all the houses that men have builded 
are the play-fields of this child of the gods. 
l^TJie Man goes away i/n silence, not weeping, 
OOGNO {taking Thahn hy the wrist) 
Is this indeed a man? 

AGMAR 

A man, a man, and until just now a hungry one. 

CURTAIN 



THE THIRD ACT 

Same room* 

A few days have elapsed. 

Seven thrones shaped like mountain- crags stand 
along the hack of the stage. On these the beggars 
are lounging. The Thief is absent. 

MLAN 

Never had beggars such a time, 

OOGNO 

Ah, the fruits and tender lamb! 

THAHN 

The Woldery wine! 

SLAG 

It was better to see my master's wise devices than 
to have fruit and lamb and Woldery wine. 

MLAN 

Ah! When they spied on him to see if he would 
eat when they went away! 

OOGNO 

When they questioned him concerning the gods and 
Man ! 

THAHN 

When they asked him why the gods permitted 
cancer ! 

SLAG 

Ah, my wise master! 

MLAN 

How well his scheme has succeeded ! 



ACT III] GODS OF THE MOUNTAIN 25 

OOGNO 

How far away is hunger! 

THAHN 

It is even like to one of last year's dreams, the 
trouble of a brief night long ago. 
o o GNO ( laughing ) 

Ho, ho, ho! To see them pray to us. 

AGMAR 

When we were beggars did we not speak as beggars? 
Did we not whine as they? Was not our mien 
beggarly ? 

OOGNO 

We were the pride of our calling. 

AGMAR 

Then now that we are gods, let us be as gods, and 
not mock our worshippers. 

ULF 

I think that the gods do mock their worshippers. 

AGMAB. 

The gods have never mocked us. We are above all 
pinnacles that we have ever gazed at in dreams. 

ULF 

I think that when man is high then most of all are 
the gods wont to mock him. 
THIEF (^entering) 

Master ! I have been with those that know all and 
see all. I have been with the thieves, master. They 
know me for one of the craft, but they do not know 
me as being one of us. 

AGMAR 

Well, well! 

THIEF 

There is danger, master, there is great danger. 



26 GODS OF THE MOUNTAIN [act m 

AGMAR 

You mean that they suspect that we are men. 

THIEF 

That they have long done, master. I mean that 
they will know it. Then we are lost. 

AGMAR 

Then they do not know it. 

THIEF 

They do not know it yet, but they will know it, 
and we are lost. 

AGMAR 

When will they know it? 

THIEF 

Three days ago they suspected us. 

AGMAR 

More than you think suspected us, but have any 
dared to say so.'* 

THIEF 

No, master. 

AGMAR 

Then forget your fears, my thief. 

THIEF 

Two men went on dromedaries three days ago to see 
if the gods were still at Marma. 

AGMAR 

They went to Marma! 

THIEF 

Yes, three days ago. 

OOGNO 

We are lost! 

AGMAR 

They went three days ago? 



ACT III] GODS OF THE MOUNTAIN 27 

THIEF 

Yes, on dromedaries. 

AGMAR 

They should be back to-day, 

OOGNO 

We are lost! 

THAHN 

We are lost ! 

THIEF 

They must have seen the green jade idols sitting 
against the mountains. They will say, " The gods 
are still at Marma." And we shall be burnt. 

SLAG 

My master will yet devise a plan. 
AGMAR (to the Thief) 

Slip away to some high place and look toward the 
desert and see how long we have to devise a plan. 

SliAG 

My master will find a plan. 

OOGNO 

He has taken us into a trap. 

THAHN 

His wisdom is our doom. 

SLAG 

He will find a wise plan yet, 
THIEF (reentering) 
It is too late! 

AGMAR 

It is too late! 

THIEF 

The dromedary men are here. 

OOGNO 

We are lost! 



28 GODS OF THE MOUNTAIN [act m 

AGMAB 

Be silent ! I must think. 

[T/t^2/ all sit still. Citizens enter and prostrate 
themselves. Agmar sits deep in thought. 
ILLANAUN (^o Agmar) 

Two holy pilgrims have gone to your sacred shrines, 
wherem you were wont to sit before you left the 
mountains. (^ Agmar says nothing) They return 
even now. 

AGMAR 

They left us here and went to find the gods? A 
fish once took a journey into a far country to find 
the sea. 

ILiLANAUN 

Most reverend deity, their piety is so great that 
they have gone to worship even your shrines. 

AGMAR 

I know these men that have great piety. Such men 
have often prayed to me before, but their prayers 
are not acceptable. They little love the gods ; their 
only care is their piety. I know these pious ones. 
They will say that the seven gods were still at 
Marma. They will lie and say that we were still 
at Marma. So shall they seem more pious to you 
all, pretending that they alone have seen the gods. 
Fools shall believe them and share in their dam- 
nation. 
OORANDER {to Illanaun) 

Hush! You anger the gods. 

ILLANAUN 

I am not sure whom I anger. 

OORANDER 

It may be they are the gods. 



ACT III] GODS OF THE MOUNTAIN 29 

IliLANAUN 

Where are these men from Marma? 

CITIZEN 

Here are the dromedary men ; they are coming now. 
iLiiANAUN (to Agmar) 

The holy pilgrims from your shrine are come to 
worship you. 

AGMAE 

The men are doubters. How the gods hate the 
word! Doubt ever contaminated virtue. Let them 
be cast into prison and not besmirch your purity. 
(Rising) Let them not enter here. 

ILLANAUN 

But oh, most reverend deity from the Mountain, 
we also doubt, most reverend deity. 

AGMAR 

You have chosen. You have chosen. And yet it 
is not too late. Repent and cast these men in prison 
and it may not be too late. The gods have never 
wept. And yet when they think upon damnation 
and the dooms that are withering a myriad bones, 
then almost, were they not divine, they could weep. 
Be quick! Repent of your doubt. 
[Enter the Dromedary Men. 

ILLANAUN 

Most reverend deity, it is a mighty doubt. 

CITIZENS 

Nothing has hilled him! They are not the gods! 
SLAG (to Agmar) 

You have a plan, my master. You have a plan, 

AGMAR 

Not yet, Slag. 



30 GODS OF THE MOUNTAIN [act ni 

ILLANAUN (to Oorauder) 

These are the men that went to the shrines at 

Marma. 
OORANDER (in a loud, clear voice) 

Were the Gods of the Mountain seated still at 

Marma, or were they not there? 

[The beggars get up hurriedli/ from their thrones. 

DROMEDARY MAN 

They were not there. 

ILLANAUN 

They were not there? 

DROMEDARY MAN 

Their shrines were empty. 

OORANDER 

Behold the Gods of the Mountain ! 

AKMOS 

They have indeed come from Marma. 

OORANDER 

Come. Let us go away to prepare a sacrifice. A 
mighty sacrifice to atone for our doubting. (Ex- 
eunt) 

SLAG 

My most wise master! 

AGMAR 

No, no. Slag. I do not know what has befallen. 
When I went by Marma only two weeks ago the 
idols of green jade were still seated there. 

OOGNO 

We are saved now. 

THAHN 

Ay, we are saved. 

AGMAR 

We are saved, but I know not how. 



ACT in] GODS OF THE MOUNTAIN 31 

OOGNO 

Never had beggars such a time. 

THIEF 

I will go out and watch. {He creeps out) 

ULF 

Yet I have a fear. 

OOGNO 

A fear? Why, we are saved. 

ULF 

Last night I dreamed. 

OOGNO 

What was your dream? 

ULF 

It was nothing. I dreamed that I was thirsty and 
one gave me Woldery wine; yet there was a fear 
in my dream. 

THAHN 

When I drink Woldery wine I am afraid of nothing. 
THIEF {^reentering) 

They are making a pleasant banquet ready for us; 
they are killing lambs, and girls are there with 
fruits, and there is to be much Woldery wine. 

MLAN 

Never had beggars such a time. 

AGMAR 

Do any doubt us now? 

THIEF 

I do not know. 

MLAN 

When will the banquet be? 

THIEF 

When the stars come out. 



32 GODS OF THE MOUNTAIN [act hi 

OOGNO 

All! It is sunset already. There will be good 
eating. 

THAHN 

We shall see the girls come in with baskets upon 
their heads. 

OOGNO 

There will be fruits in the baskets. 

THAHN 

All the fruits of the valley. 

MLAN 

Oh, how long we have wandered along the ways of 
the world! 

SLAG 

Oh, how hard they were! 

THAHN 

And how dusty! 

OOGNO 

And how little wine! 

MLAN 

How long we have asked and asked, and for how 
much! 

AGMAR 

We to whom all things are coming now at last! 

THIEF 

I fear lest my art forsake me now that good things 
come without stealing. 

AGMAR 

You will need your art no longer. 

SLAG 

The wisdom of my master shall suffice us all our 
days. 



ACT III] GODS OF THE MOUNTAIN 33 

\_Enter a frightened Man, He kneels before Agmar 
and abases his forehead, 

MAN 

Master, we implore you, the people beseech you. 
[Agmar and the beggars in the attitude of the gods 
sit silent, 

MAN 

Master, it is terrible. (^The beggars maintain si- 
lence) It is terrible when you wander in the even- 
ing. It is terrible on the edge of the desert in the 
evening. Children die when they see you. 

AGMAR 

In the desert.? When did you see m%? 

MAN 

Last night, master. You were terrible last night. 
You were terrible in the gloaming. When your 
hands were stretched out and groping. You were 
feeling for the city. 

AGMAR 

Last night do you say.? 

MAN 

You ^ere terrible in the gloaming! 

AGMAR 

You yourself saw us.? 

MAN 

Yes, master, you were terrible. Children too saw 
you and they died. 

AGMAR 

You say you saw us.? 

MAN 

Yes, master. Not as you are now, but otherwise. 
We implore you, master, not to wander at evening. 
You are terrible in the gloaming. You are — 



84 GODS OF THE MOUNTAIN [act m 

AGMAB 

You say we appea^red not as we are now. How 
did we appear to you? 

MAN 

Otherwise, master, otherwise. 

AGMAR 

But how did we appear to you? 

MAN 

You were all green, master, all green in the gloam- 
ing, all of rock again as you used to be in the moun- 
tains. Master, we can bear to see you in flesh like 
men, but when we see rock walking it is terrible, it 
is terrible. 

AGMAR 

That is how we appeared to you? 

MAN 

Yes, master. Rock should not walk. When chil- 
dren see it they do not understand. Rock should 
not walk in the evening. 

AGMAR 

There have been doubters of late. Are they sat- 
isfied? 

MAN 

Master, they are terrified. Spare us, master. 

AGMAR 

It is wrong to doubt. Go and be faithful. 
\_Exit Man, 

SLAG 

What have they seen, master? 

AGMAR 

They have seen their own fears dancing in the desert. 
[They have seen something green after the light was 



ACT III] GODS OF THE MOUNTAIN 35 

gone, and some child has told them a tale that it 
was us. I do not know what they have seen. What 
should they have seen? 

UliP 

Something was coming this way from the desert, 
he said. 

SLAG 

What should come from the desert.'* 

AGMAE 

They are a foolish people. 

ULF 

That man's white face has seen some frightful thing. 

SLAG 

A frightful thing? 

ULF 

That man's face has been near to some frightful 
thing. 

AGMAR 

It is only we that have frightened them and their 
fears have made them foolish. 

[Enter an Attendant with a torch or lantern which 
he places in a receptacle. Exit. 

THAHN 

Now we shall see the faces of the girls when they 
come to the banquet. 
MLAisr 

Never had beggars such a time. 

AGMAR 

Hark! They are coming. I hear footsteps. 

THAHN 

The dancing girls ! They are coming ! 



86 GODS OF THE MOUNTAIN [act m 

THIEF 

There is no sound of flutes, they said they would 
come with music. 

OOGNO 

What heavy boots they have; they sound like feet 
of stone. 

THAHN 

I do not like to hear their heavy tread. Those that 
would dance to us must be light of foot. 

AGMAU 

I shall not smile at them if they are not airy. 

MLAN 

They are coming very slowly. They should come 
nimbly to us. 

THAHN 

They should dance as they come. But the footfall is 
like the footfall of heavy crabs. 

IJLF (m a loud voice, almost chanting) 

I have a fear, an old fear and a boding. We have 
done ill in the sight of the seven gods. Beggars we 
were and beggars we should have remained. We 
have given up our calling and come in sight of our 
doom. I will no longer let my fear be silent; it 
shall run about and cry ; it shall go from me crying, 
like a dog from out of a doomed city; for my fear 
has seen calamity and has known an evil thing. 

SLAG (hoarsely) 
Master ! 

AGMAR (rising) 
Come, come! 

{They listen. No one speaks. The stony hoots 
come on. Enter in single file through door in right 
of back, a procession of seven green men, even hands 



ACT III] COBS OP THE MOUNTAIN OT 

and faces are green; they wear greenstone sandals; 
they walk with knees extremely wide apart, as hav- 
ing sat cross-legged for centuries; their right arms 
and right forefingers point upward, right elbows 
resting on left hands; they stoop grotesquely. 
Halfway to the footlights they left wheel. They 
pass in front of the seven beggars, now in terrified 
attitudes, and six of them sit down in the attitude 
described, with their backs to the audience. The 
leader stands, still stooping. 

ooGNO (cries out just as they wheel left) 
The Gods of the Mountain ! 

AGMAR (hoarsely) 

Be still ! They are dazzled by the light. They may 
not see us. 

[^The leading Green Thing points his forefinger at 
the lantern — the flame turns green. When the six 
are seated the leader points one by one at each of 
the seven beggars, shooting out his forefinger at 
them. As he does this each beggar in his turn 
gathers himself back on to his throne and crosses 
Ms legs, his right arm goes stiffly upward with fore- 
finger erect, and a staring look of horror comes into 
his eyes. In this attitude the beggars sit motion- 
less while a green light falls upon their faces. The 
gods go out. 

Presently enter the Citizens, some with victuals and 
fruit. One touches a beggar's arm and then another's, 

CITIZEN 

They are cold; they have turned to stone. 
[^All abase themselves, foreheads to the floor, 

ONE 

We have doubted them. We have doubted them. 



38 GOBS OF THE MOUNTAIN [act m 

They have turned to stone because we have doubted 
them. 

ANOTHER 

They were the true gods. 

ALL 

They were the true gods. 

CURTAIN 



THE GOLDEN DOOM 



PERSONS 

The King 
Chamberlain 
Chief Prophet 

Boy 

Spies 

First Prophet 

Second Prophet 

First Sentry 

Second Sentry 

Stranger 

Attendants 



Scene: Outside the King^s great door in Zericon, 
Time: Some while before the fall of Babylon. 



THE GOLDEN DOOM 

Two Sentries pace to and fro, then halt, one on each 
side of the great door, 

FIRST SENTRY 

The day is deadly sultry. 

SECOND SENTRY 

I would that I were swimming down the Gyshon, on 
the cool side, under the fruit trees. 

FIRST SENTRY 

It is like to thunder or the fall of a dynasty. 

SECOND SENTRY 

It will grow cool by night-fall. Where is the King? 

FIRST SENTRY 

He rows in his golden barge with ambassadors or 
whispers with captains concerning future wars. The 
stars spare him! 

SECOND SENTRY 

Why do you say " the stars spare him "? 

FIRST SENTRY 

Because if a doom from the stars fall suddenly on 
a king it swallows up his people and all things 
round about him, and his palace falls and the walls 
of his city and citadel, and the apes come in from 
the woods and the large beasts from the desert, so 
that you would not say that a king had been there 
^t all. 



42 THE GOLDEN DOOM 

SECOND SENTRY 

But why should a doom from the stars fall on the 
King? 

FIRST SENTRY 

Because he seldom placates them. 

SECOND SENTRY 

Ah! I have heard that said of him. 

FIRST SENTRY 

Who are the stars that a man should scorn them? 
Should they that rule the thunder, the plague and 
the earthquake withhold these things save for much 
prayer? Always ambassadors are with the King, 
and his commanders, come in from distant lands, 
prefects of cities and makers of the laws, but never 
the priests of the stars. 

SECOND SENTRY 

Hark! Was that thunder? 

FIRST SENTRY 

Believe me, the stars are angry. 
\_Enter a Stranger. He wanders toward tTie King's 
door, gazing about him. 
SENTRIES (lifting their spears at him) 
Go back! Go back! 

STRANGER 

Why? 

FIRST SENTRY 

It is death to touch the King's door. 

STRANGER 

I am a stranger from Thessaly. 

FIRST SENTRY 

It is death even for a stranger. 

STRANGER 

Your door is strangely sacred. 



THE GOLDEN DOOM 43 

FIRST SENTRY 

It is death to touch it. 

{^The Stranger wanders off. 

[Enter two children hand in hand, 
BOY (fo the Sentry) 

I want to see the King to pray for a hoop. 

[The Sentry smiles. 
BOY (pushes the door; to girl) 

I cannot open it. (To the Sentry) Will it do as 

well if I pray to the King's door? 

SENTRY 

Yes, quite as well. (Turns to talk to the other 
Sentry) Is there anyone in sight? 
SECOND SENTRY (shading his eyes) 

Nothing but a dog, and he far out on the plain. 

FIRST SENTRY 

Then we can talk awhile and eat bash. 

BOY 

King's door, I want a little hoop. 
[The Sentries take a little bash between finger and 
thumb from pouches and put that wholly forgotten 
drug to their lips. 
GIRL (pointing) 

My father is a taller soldier than that. 

BOY 

My father can write. He taught me. 

GIRL 

Ho ! Writing frightens nobody. My father is a 
soldier. 

BOY 

I have a lump of gold. I found it in the stream 
that runs down to Gyshon. 



44 THE GOLBEN BOOM 

GIRIi 

I have a poem. I found it in my own head. 

BOY 

Is it a long poem? 

GIRIi 

No. But it would have been only there were no more 
rhymes for sky. 

BOY 

What is your poem? 

GIKIi 

I saw a purple bird 

Go up against the sky 
And it went up and up 

And round about did fly. 

BOY 

I saw it die. 

GIRL 

That does n't scan. 

BOY 

Oh, that does n't matter. 

GIRL 

Do you like my poem? 

BOY 

Birds are n't purple. 

GIRL 

My bird was. 

BOY 

Oh! 

GIRL 

Oh, you don't like my poem! 

BOY 

Yes, I do. 



THE GOLDEN DOOM 45 

GIRL 

No, you don't; you think it horrid. 

BOY 

No. I don't. 

GIRL 

Yes, you do. Why didn't you say you liked it? 
It is the only poem I ever made. 

BOY 

I do like it. I do like it. 

GIRL 

You don't, you don't! 

BOY 

Don't be angry. I '11 write it on the door for you. 

GIRL 

You '11 write it ? 

BOY 

Yes, I can write it. My father taught me. I '11 
write it with my lump of gold. It makes a yellow 
mark on the iron door. 

GIRL 

Oh, do write it! I would like to see it written like 

real poetry. 

[^The Boy begins to write. The Girl watches, 

FIRST SENTRY 

You see, we '11 be fighting again soon. 

SECOND SENTRY 

Only a little war. We never have more than a little 
war with the hill-folk. 

FIRST SENTRY 

When a man goes to fight, the curtains of the gods 
wax thicker than ever before between his eyes and the 
future; he may go to a great or to a little war. 



46 THE GOLDEN DOOM 

SECOND SENTRY 

There can only be a little war with the hill-folk. 

FIRST SENTRY 

Yet sometimes the gods laugh. 

SECOND SENTRY 

At whom? 

FIRST SENTRY 

At kings. 

SECOND SENTRY 

Why have you grown uneasy about this war in the 
hills? 

FIRST SENTRY 

Because the King is powerful beyond any of his 
fathers, and has more fighting men, more horses, 
and wealth that could have ransomed his father and 
his grandfather and dowered their queens and daugh- 
ters; and. every year his miners bring him more 
from the opal-mines and from the turquoise-quarries. 
He has grown very mighty. 

SECOND SENTRY 

Then he will the more easily crush the hill-folk in 
a little war. 

FIRST SENTRY 

When kings grow very mighty the stars grow very 
jealous. 

BOY 

I 've written your poem. 

GIRL 

Oh, have you really? 

BOY 

Yes, I '11 read it to you. {He reads) 
I saw a purple bird 
Go up against the sky 



THE GOLDEN DOOM 4^ 

And it went up and up 
And round about did fly, 
I saw it die. 

GIRIi 

It does n't scan. 

BOY 

That does n't matter. 

[Enter furtively a Spy, who crosses stage and goes 

out. The Sentries cease to talk, 

GIRL 

That man frightens me. 

BOY 

He is only one of the King's spies. 

GIRL 

But I don't like the King's spies. They frighten 
me. 

BOY 

Come on, then, we '11 run away. 
SENTRY (noticing the children again) 

Go away, go away ! The King is coming, he will 
eat you. 

[The Boy throws a stone at the Sentry and runs 
out. Enter another Spy, who crosses the stage. 
Enter third Spy, who notices the door. He exam- 
ines it and utters an owl-like whistle. No. 2 conies 
hack. They do not speak. Both whistle. No. S 
comes. All examine the door. Enter the Ki/ng and 
his Chamberlain. The King wears a purple robe. 
The Sentries smartly transfer their spears to their 
left hands and return their right arms to their right 
sides. They then lower their spears until their points 
are within an inch of the ground, at the same timne 
raising their right hands above their heads. They 



48 THE GOLDEN DOOM 

stand for some moments thus. Then they lower their 
right arms to their right sides, at the same time rais- 
ing their spears. In the next motion they take their 
spears into their right hands and lower the hutts 
to the floor, where they were before, the spears slant- 
ing forward a little. Both Sentries must move to- 
gether precisely. 
riKST SPY (runs forward to the King and Jcneels, abas- 
ing his forehead to the floop) Something has writ- 
ten on the iron door. 

CHAMBEELAIN 

On the iron door! 

KING 

Some fool has done it. Who has Keen here since 
yesterday? 
piRST SENTRY (^sMfts Ms hand a little higher on his 
spear, brings the spear to his side and closes his heels 
all im OTie motion; he then takes one pace backward 
with his right foot; then he kneels on his right knee; 
when he has done this he speaks, but not before) 
Nobody, Majesty, but a stranger from Thessaly, 

KING 

Did he touch the iron door? 

FIRST SENTRY 

No, Majesty; he tried to, but we drove him away. 

KING 

How near did he come? 

FIRST SENTRY 

Nearly to our spears. Majesty. 

KING 

What was his motive in seeking to touch the iron 
door? 



THE GOLDEN DOOM 49 

rmST SENTRY 

I do not know. Majesty. 

KING 

Which way did he go? 
FIRST SENTRY (pointing left) 

That way, Majesty, an hour ago. 

l[The King whispers with one of his Spies, who stoops 

and examines the ground and steals away. The 

Sentry rises, 
KING (to his two remaining Spies) 

What does this writing say? 

A SPY 

We cannot read, Majesty. 

KING 

A good spy should know everything. 

SECOND SPY 

We watch. Majesty, and we search out. Majesty. 
We read shadows, and we read footprints, and whis- 
pers in secret places. But we do not read writing. 

KING (^to the Chamberlain) 
See what it is. 

CHAMBERLAIN (goes up and reads) 
It is treason. Majesty. 

KING 

Read it. 

CHAMBERLAIN 

I saw a purple bird 

Go up against the sky, 
And it went up and up 
And round about did fly. 
I saw it die. 
riRST SENTRY (aslde) 
The stars have spoken. 



so THE GOLDEN DOOM 

KING {to the Sentry) 

Has anyone been here but the stranger from IThes- 

saly? 
SENTRY (kneeling as before) 

Nobody, Majesty. 

KING 

You saw nothing? 

FIRST SENTRY 

Nothing but a dog far out upon the plain and the 

children of the guard at play. 
KING (to the Second Sentry) 

And you? 
SECOND SENTRY (kneeling\ 

Nothing, Majesty. 

CHAMBERLAIN 

That is strange. 

KING 

It is some secret warning. 

CHAMBERLAIN 

It is treason. 

KING 

It is from the stars. 

CHAMBERLAIN 

No, no, Majesty. Not from the stars, not from the 

stars. Some man has done it. Yet the thing should 

be interpreted. Shall I send for the prophets of the 

stars ? 

[The King heclons to his Spies. They run up to 

him. 

KING 

Find me some prophet of the stars. (Exeunt Spies) 
I fear that we may go no more, my chamberlain, 
along the winding ways of unequalled Zericon, nor 



THE GOLDEN DOOM 51' 

play dahoori with the golden balls. I have thought 
more of mj people than of the stars and more of 
Zericon than of windy Heaven. 

CHAMBERLAIN 

Believe me, Majesty, some idle man has written it 
and passed by. Your spies shall find him, and then 
his name will be soon forgotten. 

KING 

Yes, yes. Perhaps you are right, though the sen- 
tries saw no one. No doubt some beggar did it. 

CHAMBERLAIN 

Yes, Majesty, some beggar has surely done it. But 
look, here come two prophets of the stars. They 
shall tell us that this is idle. 

[Enter two Prophets and a Boy attending them. 
All how deeply to the King. The two Spies steal in 
again and stand at hack. 

KING 

Some beggar has written a rhyme on the iron gate, 
and as the ways of rhyme are known to you I de- 
sired you, rather as poets than as prophets, to say 
whether there was any meaning in it. 

CHAMBERLAIN 

'T is but an idle rhyme. 
FIRST PROPHET {hows again and goes up to door. He 
glances at the writing) Come hither, servant of 
those that serve the stars. 
[Attendant approaches. 

FIRST PROPHET 

Bring hither our golden cloaks, for this may be a 
matter for rejoicing; and bring our green cloaks 
also, for this may tell of young new beautiful things 



52 THE GOLDEN DOOM 

with which the stars will one day gladden the King; 
and bring our black cloaks also, for it may be a 
doom. (Exit the Boy; the Prophet goes up to the 
door and reads solemnly) The stars have spoken. 
l^Reenter Attendant zdth cloaks, 

KING 

I tell you that some beggar has written this. 

FIRST PEOPHET 

It is written in pure gold. (He dons the black cloak 
over body and head) 

KING 

What do the stars mean.f* What warning is it.'* 

FIRST PROPHET 

I cannot say. 
KING (to Second Prophet) 

Come you then and tell us what the warning is. 
SECOND PROPHET (gocs up to the door and reads) 

The stars have spoken. (He cloaks himself in black) 

KING 

What is it? What does it mean.'' 

SECOND PROPHET 

We do not know, but it is from the stars. 

CHAMBERLAIN 

It is a harmless thing; there is no harm in it, Maj- 
esty. Why should not birds die? 

KING 

Why have the prophets covered themselves in black? 

CHAMBERLAIN 

They are a secret people and look for inner mean- 
ings. There is no harm in it. 

KING 

They have covered themselves in black. 



THE GOLDEN DOOM 58 

CHAMBERLAIN 

They have not spoken of any evil thing. They have 
not spoken of it. 

KING 

If the people see the prophets covered in black they 
will say that the stars are against me and believe 
that my luck has turned. 

CHAMBERLAIN 

The people must not know. 

KING 

Some prophet must interpret to us the doom. Let 
the chief prophet of the stars be sent for. 
CHAMBERLAIN (goiug towavd left exit) 

Summon the chief prophet of the stars that look 
on Zericon. 

VOICES OFF 

The chief prophet of the stars. The chief prophet 
of the stars. 

CHAMBERLAIN 

I have summoned the chief prophet, Majesty. 

KING 

If he interpret this aright I will put a necklace of 
turquoises round his neck with opals from the mines. 

CHAMBERLAIN 

He will not fail. He is a very cunning interpreter. 

KING 

What if he covers himself with a huge black cloak 
and does not speak and goes muttering away, slowly 
with bended head, till our fear spreads to the sen- 
tries and they cry aloud? 

CHAMBERLAIN 

This is no doom from the stars, but some Idle scribe 



54 THE GOLDEN DOOM 

hath written it in his insolence upon the iron door, 
wasting his hoard of gold. 

KING 

Not for myself I have a fear of doom, not for my- 
self; but I inherited a rocky land, windy and ill- 
nurtured, and nursed it to prosperity by years of 
peace and spread its boundaries by years of war. 
I have brought up harvests out of barren acres and 
given good laws unto naughty towns, and my people 
are happy, and lo, the stars are angry ! 

CHAMBERLAIN 

It is not the stars, it is not the stars. Majesty, for 
the prophets of the stars have not interpreted it. 
Indeed, it was only some reveller wasting his gold. 
[Meanwhile enter Chief Prophet of the stars that 
look on Z eric on. 

KING 

Chief Prophet of the Stars that look on Zericon, 
I would have you interpret the rhyme upon yonder 
door. 
CHIEF PEOPHET (goes up to the door and reads) 
It is from the stars. 

KING 

Interpret it and you shall have great turquoises 
round your neck, with opals from the mines in the 
frozen mountains. 
CHIEF PEOPHET (cloaJus h'lmself like the others in a 
great black cloak) Who should wear purple in the 
land but a King, or who go up against the sky but 
he who has troubled the stars by neglecting their 
ancient worship? Such a one has gone up and up 
increasing power and wealth, such a one has soared 
above the crowns of those that went before him, 



THE GOLDEN DOOM 55 

such a one the stars have doomed, the undying ones, 
the illustrious. [A pause, 

KING 

Who wrote it? 

CHIEF PROPHET 

It is pure gold. Some god has written it. 

CHAMBERLAIN 

Some god? 

CHIEF PROPHET 

Some god whose home is among the undying stars. 
FIRST SENTRY (aside to the Second Sentry) 
Last night I saw a star go flaming earthward. 

KING 

Is this a warning or is it a doom? 

CHIEF PROPHET 

The stars have spoken. 

KING 

It is, then, a doom? 

CHIEF PROPHET 

They speak not in jest, 

KING 

I have been a great King — Let it be said of me 
" The stars overthrew him, and they sent a god for 
his doom." For I have not met my equal among 
kings that man should overthrow me; and I have 
not oppressed my people that man should rise up 
against me. 

CHIEF PROPHET 

It is better to give worship to the stars than to do 
good to man. It is better to be humble before the 
gods than proud in the face of your enemy though 
be do evil. 



56 THE GOLDEN DOOM 

KING 

Let the stars hearken yet and I will sacrifice a child 
to them — I will sacrifice a girl child to the 
twinkling stars and a male child to the stars that 
blink not, the stars of the steadfast eyes. (^To his 
Spies) Let a boy and girl be brought for sacri- 
fice. (Eccit a Spy to the right looking at footprints) 
Will you accept this sacrifice to the god that the 
stars have sent.^^ They say that the gods love 
children. 

CHIEF PROPHET 

I may refuse no sacrifice to the stars nor to the 
gods whom they send. (To the other Prophets) 
Make ready the sacrificial knives. 
[^The Prophets draw knives and sharpen them. 

KING 

Is it fitting that the sacrifice take place by the iron 
door where the god from the stars has trod, or 
must it be in the temple? 

CHIEF PROPHET 

Let it be offered by the iron door. (To the other 
Prophets) Fetch hither the altar stone. 
l^The owl-like whistle is heard off right. The Third 
Spy runs crouching toward it. Exit. 

KING 

Will this sacrifice avail to avert the doom.'^ 

CHIEF PROPHET 

Who knows .^ 

KING 

I fear that even yet the doom will fall. 

CHIEF PROPHET 

It were wise to sacrifice some greater thing. 



THE GOLDEN DOOM 57 

KING 

What more can a man offer? 

CHIEF PROPHET 

His pride. 

KING 

What pride? 

CHIEF PROPHET 

Your pride that went up against the sky and 
troubled the stars. 

KING 

How shall I sacrifice my pride to the stars? 

CHIEF PROPHET 

It is upon your pride that the doom will fall, and 
will take away your crown and will take away your 
kingdom. 

KING 

I will sacrifice my crown and reign uncrowned 
amongst you, so only I save my kingdom. 

CHIEF PROPHET 

If you sacrifice your crown which is your pride, 
and if the stars accept it, perhaps the god that 
they sent may avert the doom and you may still 
reign in your kingdom though humbled and un- 
crowned. 

KING 

Shall I burn my crown with spices and with incense 
or cast it into the sea? 

CHIEF PROPHET 

Let it be laid here by the iron door where the god 
came who wrote the golden doom. When he comes 
again by night to shrivel up the city or to pour 
an enemy in through the iron door, he will see your 



58 THE GOLDEN DOOM 

cast-oif pride and perhaps accept it and take it 
away to the neglected stars. 
KING (#0 the Chamberlain) 

Go after my spies and say that I make no sacrifice. 
(^Exit the Chamberlain to the right; the King takes 
off his crown) Good-bye, my brittle glory; kings 
have sought you; the stars have envied you. {The 
stage grows darker) 

CHIEF PROPHET 

Even now the sun has set who denies the stars, and 
the day is departed wherein no gods walk abroad. 
It is near the hour when spirits roam the earth and 
all things that go unseen, and the faces of the abid- 
ing stars will be soon revealed to the fields. Lay 
your crown there and let us come away. 

KING (lai/s his crown before the iron door; then to 
the Sentries ) Go ! And let no man come near the 
door all night. 

THE SENTRIES (kneeling) 
Yes, Majesty. 

[^Thei/ remain kneeling until after the King has gone. 
King and the Chief Prophet walk away. 

CHIEF PROPHET 

It was your pride. Let it be forgotten. May the 
stars accept it. (ExeuTit left) 
[TJie Sentries rise. 

FIRST SENTRY 

The stars have envied him! 

SECOND SENTRY 

It is an ancient crown. He wore it well, 

FIRST SENTRY 

May the stars accept it. 



THE GOLDEN DOOM 59 

SECOND SENTRY 

If they do not accept it what doom will overtake 
him? 

FIRST SENTRY 

It will suddenly be as though there were never any 
city of Zericon nor two sentries like you and me 
standing before the door. 

SECOND SENTRY 

Why! How do you know? 

FIRST SENTRY 

That is ever the way of the gods. 

SECOND SENTRY 

But it is unjust. 

FIRST SENTRY 

How should the gods know that? 

SECOND SENTRY 

Will it happen to-night? 

FIRST SENTRY 

Come! we must march away. (Exeunt right) 
[The stage grows increasingly darker. Reenter the 
Chamberlain from the right. He walks across the 
Stage and goes out to the left. Reenter Spies from 
the right. They cross the stage, which is now nearly 
dark. 
BOY (^enters from the right, dressed in white, his hands 
out a little, crying) King's door, King's door, I want 
my little hoop. (^He goes up to the King's door. 
When he sees the King's crown there, he utters a 
satisfied) 0-oh! (He takes it up, puts it on the 
ground, and, heating it before him with the sceptre, 
goes out by the way that he entered) 
[The great door opens; there is light within; a fur- 
tive Spy slips out and sees that the crown is gone. 



60 THE GOLDEN DOOM 

Another Spy slips out. Their crouching heads come 
close together. 
FIRST SPY (hoarse whisper) 
The gods have come! 

\They run hack through the door and the door is 
closed. It opens again and the King and the Cham- 
berlain come through, 

KING 

The stars are satisfied. 

CURTAIN 



%' 

^ 



KING ARGIMENES AND THE 
UNKNOWN WARRIOR 



PERSONS 



King Argimenes 

Zaub, a slave born of slaves 

An Old Slave 

A Young Slave 

Slaves 

King Darniak 

The King's Overseer 

A Prophet 

The Idol-Guard 

The Servant of the King's Dog 

Queen Atharlia 

Queen Oxara 

Queen Cahafra 

Queen Thragolind 

Guards and Attendants 



Slaves of King Darniak 



Queens of King Darniak 



Time: A long time ago. 



KING ARGIMENES AND THE 
UNKNOWN WARRIOR 

THE FIRST ACT 

The dinner-hour on the slave-fields of King Darniak, 
King Argimenes is sitting upon the ground, bowed, 
ragged and dirty, gnawing a hone. He has uncouth 
hair and a dishevelled heard. A hattered spade lies: 
near him. Two or three slaves sit at hack of stage 
eating raw cahh age-leaves. The tear-song, the chant 
of the low-horn, rises at intervals, monotonous and 
mournful, coming from distant slave-fields. ^ 

KING ARGIMENES 

This is a good bone; there is juice in this bone. 

ZARB 

I wish I were you, Argimenes. 

KING ARGIMENES 

I am not to be envied any longer. I have eaten up 
my bone. 

ZARB 

I wish I were you, because you have been a king. 
Because men have prostrated themselves before your 
feet. Because you have ridden a horse and worn a 
crown and have been called Majesty. 

KING ARGIMENES 

When I remember that I have been a king it is very 
terrible. 



64 KING ARGIMENES [act i 

ZARB 

But you are lucky to have such things in your 
memory as you have. I have nothing in my 
memory — Once I went for a year without being 
flogged, and I remember my cleverness in contriving 
it — I have nothing else to remember. 

KING ARGIMENES 

It is very terrible to have been a king. 

ZARB 

But we have nothing who have no good memories 
in the past. It is not easy for us to hope for the 
future here. 

KING ARGIMENES 

Have you any god.'^ 

ZARB 

We may not have a god because he might make us 
brave and we might kill our guards. He might 
make a miracle and give us swords* 

KING ARGIMENES 

Ah, you have no hope, then. 

ZARB 

I have a little hope. Hush, and I will tell you a 
secret — The King's great dog is ill and like to 
die. They will throw him to us. We shall have 
beautiful bones then. 

KING ARGIMENES 

Ah ! Bones. 

ZARB 

Yes. That is what 7 hope for. And have you, no 
other hope? Do you not hope that your nation 
will arise some day and rescue you and cast off the 
king and hang him up by his thumbs from the palace 
gateway } 



ACT i] KING ARGIMENES 65 

KING ARGIMENES 

No. I have no other hope, for my god was cast 
down in the temple and broken into three pieces on 
the day that they surprised us and took me sleep- 
ing. But will they throw him to us? Will so 
honorable a brute as the King's dog be thrown 
to us.^ 

ZARB 

When he is dead his honors are taken away. Even 
the King when he is dead is given to the worms. 
Then why should not his dog be thrown to us.^^ 

KING ARGIMENES 

We are not worms ! 

ZARB 

You do not understand, Argimenes. The worms are 
little and free, while we are big and enslaved. I did 
not say we were worms, but we are like worms, and 
if they have the King when he is dead, why then — 

KING ARGIMENES 

Tell me more of the King's dog. Are there big 
bones on him.^ 

ZARB 

Ay, he is a big dog — a high, big, black one. 

KING ARGIMENES 

You know him then.? 

ZARB 

Oh yes, I know him. I know him well. I was 
beaten once because of him, twenty-five strokes from 
the treble whips, two men beating me. 

KING ARGIMENES 

How did they beat you because of the King's dog.? 

ZARB 

They beat me because I spoke to him without mak- 



66 KING ARGIMENES [act i 

ing obeisance. He was coming dancing along over 
the slave-fields and I spoke to him. He was a 
friendly great dog, and I spoke to him and patted 
his head, and did not make obeisance. 

KING ARGIMENES 

And they saw you do it.f* 

ZAEB 

Yes, the slave-guard saw me. They came and seized 
me at once and bound my arms. The great dog 
wanted me to speak to him again, but I was hur- 
ried away. 

KING ARGIMENES 

You should have made, obeisance. 

ZARB 

The great dog seemed so friendly that I forgot he 
was the King's great dog. 

KING ARGIMENES 

But tell me more. Was he hurt or is it a sickness.? 

ZARB 

They say that it is a sickness. 

KING ARGIMENES 

Ah, then he will grow thin if he does not die soon. 
If it had been a hurt ! — but we should not com- 
plain. I complain more often than you do because 
I had not learned to submit while I was yet young. 

ZARB 

If your beautiful memories do not please you, you 
should hope more. I wish I had your memories. 
I should not trouble to hope then. It is very hard 
to hope. 

KING ARGIMENES 

There will be nothing more to hope for when we 
have eaten the King's dog. 



ACT i] KING ARGIMENES 67 

ZARB 

Why, you might find gold in the earth while you 
were digging. Then you might bribe the com- 
mander of the guard to lend you his sword; we 
would all follow you if you had a sword. Then 
we might take the King and bind him and lay him 
on the ground and fasten his tongue outside his 
mouth with thorns and put honey on it and sprinkle 
honey near. Then the gray ants would come from 
one of their big mounds. My father found gold 
once when, he was digging. 

KING ARGIMENES (polntedll/) 

Did your father free himself .^^ 

ZARB 

No. Because the King's Overseer found him looking 

at the gold and killed him. But he would have freed 

himself if he could have bribed the guard. 

[^ Prophet walks across the stage attended by two 

guards, 

SLAVES 

He is going to the King. He is going to the King. 

ZARB 

He is going to the King. 

KING ARGIMENES 

Going to prophesy good things to the King. It 
is easy to prophesy good things to a king, and be 
rewarded when the good things come. What else 
should come to a king? A prophet! A prophet! 
{^A deep hell tolls slowly. King Argimenes and Zarb 
pick up their spades at once, and the old slaves at 
the hack of the stage go down on their knees imme- 
diately and grub in the soil with their hands. The 



68 KING ARGIMENES [act i 

•white beard of the oldest trails in the dirt as he 
works. King Argimenes digs, 

KING ARGIMENES 

What is the name of that song that we always sing? 
I like the song. 

ZARB 

It has no name. It is our song. There is no other 
song. 

KING ARGIMENES 

Once there were other songs. Has this no name? 

ZARB 

I think the soldiers have a name for it. 

KING ARGIMENES 

What do the soldiers call it? 

ZARB 

The soldiers call it the tear-song, the chant of the 
low-born. 

KING ARGIMENES 

It is a good song. I could sing no other now. 
[Zarh moves away digging. 
KING ARGIMENES (#0 himself as his spade touches some- 
thing in the earth) Metal! (Feels with his spade 
again) Gold perhaps ! — It is of no use here. 
(Uncovers earth leisurely. Suddenly he drops on 
his knees and works excitedly in the earth with his 
hands. Then very slowly, still kneeling, he lifts, 
lying flat on his hands, a long greenish sword, his 
eyes intent on it. About the level of his uplifted 
forehead he holds it, still fiat on both hands, and 
addresses it thus) O holy and blessed thing! (Then 
he lowers it slowly till his hands rest on his knees, 
and looking all the while at the sword, loquitur) 
Three years ago to-morrow King Darniak spat at 



ACT i] KING ARGIMENES 69 

me, having taken my kingdom from me. Three 
times in that year I was flogged, with twelve stripes, 
with seventeen stripes, and with twenty stripes. A 
year and eleven months ago, come Moon-day, the 
King's Overseer struck me in the face, and nine 
times in that year he called me dog. For one month 
two weeks and a day I was yoked with a bullock 
and pulled a rounded stone all day over the paths, 
except while we were fed. I was flogged twice that 
year — with eighteen stripes and with ten stripes. 
This year the roof of the slave-sty has fallen in and 
King Darniak will not repair it. Five weeks ago 
one of his Queens laughed at me as she came across 
the slave-fields. I was flogged again this year and 
with thirteen stripes, and twelve times they have 
called me dog. And these things they have done to 
a king, and a king of the House of Ithara. (^He 
listen's attentively for a moment, then buries the 
sword agai/n and pats the earth over it with his 
hands, then digs again) 

[The old slaves do not see him: their faces are to 
the earth. Enter the King^s Overseer carrying a 
whip. The slaves and King Argimenes kneel with 
their foreheads to the ground as he passes across the 
stage. Exit the King's Overseer. 
KING ARGIMENES (kneeling, hands outspread downward) 
O warrior spirit, wherever thou wanderest, whoever 
be thy gods, whether they punish thee or whether 
they bless thee, O kingly spirit, that once laid here 
this sword, behold, I pray to thee, having no gods 
to pray to, for the god of my nation was broken in 
three by night. Mine arm is stiff with three years' 
slavery, and remembers not the sword. But guide 



70 KING AHGIMENES [act i 

thy sword till I have slain six men and armed the 
strongest slaves, and thou shalt have the sacrifice 
every year of a hundred goodly oxen. And I will 
build in Ithara a temple to thy memory wherein all 
that enter in shall remember thee; so shalt thou be 
honored and envied among the dead, for the dead 
are very jealous of remembrance. Ay, though thou 
w^ert a robber that took men's lives unrighteously, 
yet shall rare spices smoulder in thy temple and 
little maidens sing and new-plucked flowers deck the 
solemn aisles ; and priests shall go about it ringing 
bells that thy soul shall find repose. Oh, but it has 
a good blade, this old green sword ; thou wouldst 
not like to see it miss its mark (if the dead see at 
all, as wise men teach), thou wouldst not like to see 
it go thirsting into the air ; so huge a sword should 
find its marrowy bone. {Extending his right hand 
upward) Come into my right arm, O ancient spirit, 

unknown warrior's soul ! And if thou hast the ear 
of any gods, speak there against Illuriel, god of 
King Darniak. {He rises and goes on digging) 

THE king's overseer {reentering) 

So you have been praying. 
KING ARGiMENEs {kneeling) 

No, master. 

THE king's overseer 

The slave-guard saw you. {Strikes him) It is not 
lawful for a slave to pray. 

KING ARGIMENES 

1 did but pray to Illuriel to make me a good slave, 
to teach me to dig well and to pull the rounded stone 
and to make me not to die when the food is scarce, 
but to be a good slave to my master the great King. 



ACT i] KING ARGIMENES 71 

THE king's overseer 

Who art thou to pray to Illuriel? Dogs may not 

pray to an immortal god. (^Exit) 

[Zarh comes hack, digging. 
KING ARGIMENES {digging) 

Zarb! 
ZARB (^also digging) 

Do not look at me when you speak. The guards are 

watching us. Look at your digging. 

KING ARGIMENES 

How do the guards know we are speaking because 
we look at one another? 

ZARB 

You are very witless. Of course they know. 

KING ARGIMENES 

Zarb! 

ZARB 

What is it.? 

KING ARGIMENES 

How many guards are there in sight.'' 

ZARB 

There are six of them over there. They are watch- 
ing us. 

KING ARGIMENES 

Are there other guards in sight of these six guards.'* 

ZARB 

No. 

KING ARGIMENES 

How do you know.? 

ZARB 

Because whenever their officer leaves them they sit 
upon the ground and play with dice. 



72 KING ARGIMENES [act i 

KING ARGIMENES 

How does that show that there are not another six 
in sight of them? 

ZARB 

How witless you are, Argimenes ! Of course it shows 
there are not. Because, if there were, another of- 
ficer would see them, and their thumbs would be 
cut off. 

KING ARGIMENES 

Ah! (A pause) Zarb! {A pause) Would the 
slaves follow me if I tried to kill the guards? 

ZARB 

No, Argimenes. 

KING ARGIMENES 

Why would they not follow me? 

ZARB 

Because you look like a slave. They will never 
follow a slave, because they are slaves themselves, 
and know how mean a creature is a slave. If you 
looked like a king they would follow you. 

KING ARGIMENES 

But I am a king. They know that I am a king. 

ZARB 

It is better to look like a king. It is looks that 
they would go by. 

KING ARGIMENES 

If I had a sword would they follow me? A beautiful 
huge sword of bronze. 

ZARB 

I wish I could think of things like that. It is 
because you were once a king that you can think 
of a sword of bronze. I tried to hope once that I 
should some day fight the guards, but I could n't 



ACT i] KING ARGIMENES 73 

picture a sword, I could n't imagine it ; I could 
only picture whips. 

KING ARGIMENES 

Dig a little nearer, Zarb. {They both edge closer) 
I have found a very old sword in the earth. It is 
not a sword such as common soldiers wear. A king 
must have worn it, and an angry king. It must 
have done fearful things ; there are little dints in 
it. Perhaps there was a battle here long ago where 
all were slain, and perhaps that king died last and 
buried his sword, but the great birds swallowed 
him. 

ZARB 

You have been thinking too much of the King's dog, 
Argimenes, and that has made you hungry, and 
hunger has driven you mad. 

KING ARGIMENES 

I have found such a sword. [A pause. 

ZARB 

Why — then you will wear a purple cloak again, 
and sit on a great throne, and ride a prancing horse, 
and we shall call you Majesty. 

KING ARGIMENES 

I shall break a long fast first and drink much water, 
and sleep. But will the slaves follow me.? 

ZARB 

You will mahe them follow you if you have a sword. 
Yet is Illuriel a very potent god. They say that 
none have prevailed against King Darniak's dynasty 
so long as Illuriel stood. Once an enemy cast Illuriel 
into the river and overthrew the dynasty, but a 
fisherman found him again and set him up, and the 
enemy was driven out and the dynasty returned, 



74 KING ARGIMENES [act i 

KING ARGIMENES 

If lUuriel could be cast down as my god was cast 
down perhaps King Darniak could be overcome as 
I was overcome in my sleep? 

ZARB 

If Illuriel were cast down all the people Would utter 
a cry and flee away. It would be a fearful portent. 

KING ARGIMENES 

How many men are there in the armory at the 
palace? 

ZARB 

There are ten men in the palace armory when all the 
slave-guards are out. 
\_They dig awhile in silence, 

ZARB 

The officer of the slave-guard has gone away — 
They are playing with dice now. (^He throws down 
his spade and stretches his arms) The man with 
the big beard has won again, he is very nimble with 
his thumbs — They are playing again, but it is 
getting dark, I cannot clearly see. 
[King Argimenes furtively uncovers the sword, he 
picks it up and grips it in his hand, 

ZARB 

Majesty! 

[King Argimenes crouches and steals away towards 

the slave-gu^rd, 

• •••••• 

ZARB (to the other slaves) 

Argimenes has found a terrible sword and has gone 
to slay the slave-guard. It is not a common sword, 
it is some king's sword. 



ACT i] KING ARGIMENES 75 

AN OI.D SLAVE 

Argimenes will be dreadfully flogged. We shall 
hear him cry all night. His cries will frighten us, 
and we shall not sleep. 

ZARB 

No, no ! The guards flog poor slaves, but Argi- 
menes had an angry look. The guards will be afraid 
when they see him look so angry and see his terrible 
sword. It was a huge sword, and he looked very 
angry. He will bring us the swords of the slave- 
guard. We must prostrate ourselves before him 
and kiss his feet or he will be angry with us too. 

OLD SJLAVE 

Will Argimenes give me a sword.'* 

ZARB 

He will have swords for six of us if he slays the 
slave-guard. Yes, he will give you a sword. 

SLAVE 

A sword ! No, no, I must not ; the King would kill 
me if he found that I had a sword. 
SECOND SLAVE (slowl^y as One who develops an idea) 
If the King found that I had a sword, why, then it 
would be an evil day for the King. 
[They all look off left, 

ZARB 

I think that they are playing at dice again. 

FIRST SLAVE 

I do not see Argimenes. 

ZARB 

No, because he was crouching as he walked. The 
slave-guard is on the sky-line. 

SECOND SLAVE 

What is that dark shadow behind the slave-guard.'* 



76 KING ARGIMENES [act i 

ZARB 

It is too still to be Argimenes. 

SECOND SL,AVE 

Look! It moves. 

ZARB 

The evening is too dark, I cannot see. 
[They continue to gaze into the gathering darhness. 
They raise themselves on their JcTiees and crane their 
necJcs, Nobody speaks. Then from their lips and 
from others farther off goes up a long, deep " Oh! " 
It is like the sound that goes up from the grand- 
stand when a horse falls at a fence, or, in England, 
like the first exclamation of the crowd at a great 
cricket match when a man is caught in the slips, 

CUETAIN 



THE SECOND ACT 

The Throne Hall of King Darniak, The King is 
seated on his throne in the centre at the hack of the 
stage; a little to his left, hut standing out from the 
wall, a dark-green seated idol is set up. His Queens 
are seated about him on the ground, two on his right 
and two between him and the idol. All wear crowns. 
Beside the dark-green idol a soldier with a pike is kneel- 
ing upon one knee. The tear-song, the chant of the 
low-born, drifts faintly up from the slave-fields, 

FIRST QUEEN 

Do show us the new prophet, Majesty; it would be 
very interesting to see another prophet. 

THE KING 

Ah, yes. 

[He strikes upon a gong, and an Attendant enters, 
walks straight past the King and hows before the 
idol; he then walks hack to the centre of the stage 
and hows before the King. 

THE KING 

Bring the new prophet hither. 

[Exit Attendant. Enter the King^s Overseer hold- 
ing a roll of paper. He parses the King, bows to 
the idol, returns to the front of the King, kneels, 
and remains kneeling with bended head. 
THE KING {speaking in the meanwhile to the Second 
Queen on his immediate right) We are making a 
beautiful arbor for you, Atharlia, at an end of 



^8 KING ARGIMENES [act ii 

the great garden. There shall be iris-flowers that 
you love and. all things that grow by streams. And 
the stream there shall be small and winding like one 
of those in your countr}^ I shall bring a stream 
a new way from the mountains. {Turning to> Queen 
Oxara on his extreme right) And for you, too, 

Oxara, we shall make a pleasance. I shall have 
rocks brought from the quarries for you, and my 
idle slaves shall make a hill and plant it with moun- 
tain shrubs, and you can sit there in the winter 
thinking of the North. {To the kneeling Overseer) 
Ah, what is here? 

THE king's overseer 

The plans of your royal garden, Majesty. The 
slaves have dug it for five years and rolled the 
paths. 
THE KING {takes the plans) 

Was there not a garden in Babylon.? 

THE king's OVERSEEE. 

They say there was a garden there of some sort, 
Majesty. 

THE king 

1 will have a greater garden. Let the world know 
and wonder. {Looks at the plans) 

THE king's OVERSEER 

It shall know at once. Majesty. 
THE KING {pointing at the plan) 

I do not like that hill, it is too steep. 

THE king's OVERSEER 

No, Majesty. 

THE king 

Remove it. 



U 



ACT ii] KING ARGIMENES 79 

THE king's overseer 

Yes, Majesty. 

THE KING 

When will the garden be ready for the Queens to 
walk in? 

THE king's OVERSEER 

Work is slow, Majesty, at this season of the year 
because the green stuff is scarce and the slaves grow 
idle. They even become insolent and ask for bones. 
QUEEN CAHAFRA (to the Kifig's Overseer) 

Then •whi/ are they not flogged? (To Queen Thra- 
golind) It is so simple, the}'^ only have to flog them, 
but these people are so silly sometimes. I want to 
walk in the great garden, and then they tell me: 
"It is not ready. Majesty. It is not ready. Maj- 
esty," as though there were any reason why it should 
not be ready. 

rOURTH aUEEN 

Yes, they are a great trouble to us. 
l^MeanwJiile the King hands back the plans. Exit 
the King's Overseer. Reenter Attendant with the 
Prophet, who is dressed in a long dark brown cloak; 
Ms face is solemn; he has a long dark beard and', 
long hair. Having bowed before the idol, he bows 
before the King and stands silent. The attendant, 
having bowed to both, stands by the doorway. 

THE king (meanwhile to Queen Atharlia) 

Perhaps we shall lure the ducks when the marshes 
are frozen to come and swim in your stream ; it will 
be like your own country. (To the Prophet) 
Prophesy unto us. 

THE PROPHET (speaks at once in a loud voice) 

There was once a King that had slaves to hate him 



80 KING ARGIMENES [act ii 

and to toil for him, and he had soldiers to guard 
him and to die for him. And the number of the 
slaves that he had to hate him and to toil for him 
was greater than the number of the soldiers that 
he had to guard him and to die for him. And the 
days of that King were few. And the number of thy 
slaves, King, that thou hast to hate thee is greater 
than the number of thy soldiers. 
QUEEN CAHAFRA (to Queen Thragolind) 

— and I wore the crown with the sapphires and the 
big emerald in it, and the foreign prince said that 
I looked very sweet. 

\_The King, who has been smiling at Atharlia, gives 
a gracious nod to the Prophet when he hears him 
stop speaking. When the Queens see the King nod 
graciously, they applaud the Prophet hy idly clap- 
ping their hands. 

THIRD QUEEN 

Do ask him to make us another prophecy. Majesty! 
He is so interesting. He looks so clever, 

THE KING 

Prophesy unto us. 

THE PROPHET 

Thine armies camped upon thy mountainous borders 
descry no enemy in the plains afar. And within thy 
gates lurks he for whom thy sentinels seek upon 
lonely guarded frontiers. There is a fear upon me 
and a boding. Even yet there is time, even yet; 
but little time. And my mind is dark with trouble 
for thy kingdom. 
QUEEN CAHAFRA {to Qu£en ThragoUnd) 
I do not like the way he does his hair. 



ACT ii] KING ARGIMENES 



81 



QUEEN THRAGOLIND 

It would be all right if he would only have it cut. 
THE KING {to the Prophet, dismissing him with a nod 
of the head) Thank jou, that has been very 
interesting. 

QUEEN THRAGOLIND 

How clever he is ! I wonder how he thinks of things 
like that? 

QUEEN CAHAFRA 

Yes, but I hate a man who is conceited about it. 
Look how he wears his hair. 

QUEEN THRAGOLIND 

Yes, of course, it is perfectly dreadful. 

QUEEN CAHAFRA 

Why can't he wear his hair like other people, even 
if he does say clever things.'^ 

QUEEN THRAGOLIND 

Yes, I hate a conceited man.-^ 

[Enter an Attendant, He hows before the idol, then 

kneels to the King. 

THE ATTENDANT 

The guests are all assembled in the Chamber of 
Banquets. 

[All rise. The Queens walk two abreast to the 
Chamber of Banquets. 
QUEEN ATHARLIA (to Queen Oxara) 
What was he talking about .^^ 

QUEEN OXARA 

He was talking about the armies on the frontier. 
* It is not necessary for the prophet's hair to be at all unusual. 



82 KING ARGIMENES [act n 

QUEEN ATHARLIA 

Ah! That reminds me of that young captain in 
the Purple Guard. They say that he loves Linoora. 

QUEEN OXARA 

Oh, Thearkos ! Linoora probably said that. 
[When the Queens come to the doorway they halt 
on each side of it. Then they turn facing one an- 
other. Then the King leaves his throne and passes 
between them into the Chamber of Banquets, each 
couple courtseying low to him as he passes. The 
Queens follow, then the attendants. There rises the 
wine-song, the chant of the nobles, drowning the 
chant of the low-born. Only the Idol-Guard remains 
behind, still kneeling beside Illuriel. 

THE IDOL-GUARD 

I do not like those things the Prophet said — It 
would be terrible if they were true — It would be 
very terrible if they were false, for he prophesies 
in the name of Illuriel — Ah ! They are singing 
the wine-song, the chant of the nobles. The Queens 
are singing. How merry they are ! — I should 
like to be a noble and sit and look at the Queens. 
(^He joins in the song) 

THE VOICE OF A SENTINEL 

Guard, turn out. (The wine-song still continues) 

THE VOICE OF ONE HAVING AUTHORITY 

Turn out the guard there! Wake up, you accursed 

pigs ! 

[aS'^^ZZ the wine-song. A faint sound as of swords. 

A VOICE CRYING 

To the armory ! To the armory ! Reinforce ! The 
Slaves have come to the armory. Ah! mercy! (For 
awhile there is silence) 



ACT ii] KING ARGIMENES 83 

KING ARGIMENES (in the dooTway) 

Go you to the slave-fields. Say that the palace- 
guard is dead and that we have taken the armory. 
Ten of you, hold the armory till our men come from 
the slave-fields. (He comes into the hall with his 
slaves armed with swords) Throw down Illuriel. 

THE IDOL-GUARD 

You must take my life before you touch my god. 

A SLAVE 

We only want your pike. 

[All attach him; they seize his sword and hind his 
hands behind him. They all pull down Illuriel, the 
dark-green idol, who breaks into seven pieces, 

KING ARGIMENES 

Illuriel is fallen and broken asunder. 
ZARB (with some awe) 

Immortal Illuriel is dead at last. 

KING ARGIMENES 

My god was broken into three pieces, but Illuriel 
is broken into seven. The fortunes of Darniak will 
prevail over mine no longer. (A slave breaks off a 
golden arm from the throne) Come, we will arm all 
the slaves. (Exeunt) 
KING DARNIAK (enters with Retinue) 

My throne is broken. Illuriel is turned against me. 

AN ATTENDANT 

Illuriel is fallen. 
ALL (with King Darniak) 

Illuriel is fallen, is fallen. (Some drop their spears) 
KING DARNIAK ( to the Idol-Guavd) 

What envious god or sacrilegious man has dared to 

do this thing? 



84 KING ARGIMENES [act ii 

THE IDOL-GUARD 

Illuriel is fallen. 

KING DARNIAK 

Have men been here? 

THE IDOL- GUARD 

Is fallen. 

KING DARNIAK 

What way did they go? 

THE IDOL-GUARD 

Illuriel is fallen. 

KING DARNIAK 

They shall be tortured here before Illuriel, and their 
eyes shall be hung on a thread about his neck, so 
that Illuriel shall see it, and on their bones we will 
set him up again. Come! 

[Those that have dropped their spears pick them 
up, hut trail them along behind them on the ground. 
All follow dejectedly. 

VOICES OF LAMENTATION (grozdng fainter and fainter 
off) Illuriel is fallen, Illuriel is fallen. Illuriel, 
Illuriel, Illuriel. Is fallen. Is fallen. (The song of 
the low-born ceases suddenly. Then voices of the 
slaves in the slave-fields chanting very loudly) Illu- 
riel is fallen, is fallen, is fallen. Illuriel is fallen and 
broken asunder. Illuriel is fallen, fallen, fallen. 
[Clamor of fighting is heard, the clash of swords, 
and voices, and now and then the name of Illuriel, 

THE IDOL-GUARD (JcnceUng over a fragment of Illuriel) 
Illuriel is broken. They have overthrown Illuriel. 
They have done great harm to the courses of the 
stars. The moon will be turned to blackness or fall 
and forsake the nights. The sun will rise no more. 



ACT n] KING ARGIMENES 85 

They do not know how they have wrecked the world. 
[Reenter King Argimenes and his men. 

KING ARGIMENES {in the dooTway) 

Go you to the land of Ithara and tell them that I 
am free. And do you go to the army on the fron- 
tier. Offer them death, or the right arm of the 
throne to be melted and divided amongst them all. 
Let them choose. {The armed slaves go to the 
throne and stand on each side of it, loquitur) Maj- 
esty, ascend your throne. {King Argimenes, stand- 
ing with his face toward the audience, lifts the sword 
slowly, lying on both his hands, a little above his 
head, then looking up at it, loquitur) Praise to the 
unknown warrior and to all gods that bless him. 
{He ascends the throne. Zarb prostrates himself 
at the foot of it and remains prostrated for the rest 
of the Act, muttering at intervals " Majesty.'' An 
armed slave enters dragging the King's Overseer. 
King Argimenes sternly watches him. He is dragged 
before the Throne. He still has the roll of parch- 
ment in his hand. For some moments King Argi- 
menes does not speak. Then pointing at the parch- 
ment) What have you there? 

THE king's overseer {kneeling) 

It is a plan of the great garden. Majesty. It was 
to have been a wonder to the world. {Unfolds it) 

KING ARGIMENES {grimly) 

Show me the place that I digged for three years. 
{The King's Overseer shows it with trembling hands; 
the parchment shakes visibly) Let there be built 
there a temple to an Unknown Warrior. And let 
this sword be laid on its altar evermore, that the 
ghost of that Warrior wandering by night (if men 



86 KING ARGIMENES [act ii 

do walk by night from across the grave) may see 
his sword again. And let slaves be allowed to pray 
there and those that are oppressed; nevertheless 
the noble and the mighty shall not fail to repair 
there too, that the Unknown Warrior shall not lack 
due reverence. 

[Enter, running, a Man of the household of King 
Darniak. He starts and stares aghast on seevng 
King Argimenes. 

KING ARGIMENES 

Who are you? 

MAN 

I am the servant of the King's dog. 

KING ARGIMENES 

Why do you come here? 

MAN 

The King's dog is dead. 

KING ARGIMENES AND HIS MEN (^savagely and hungrily) 
Bones ! 

KING ARGIMENES {remembering suddenly what has hap- 
pened and where he is) Let him be buried with the 
late King. 

ZARB (in a voice of protest) 
Ma j esty ! 

CURTAIN 



THE GLITTERING GATE 



PERSONS 

JIM, lately a burglar 1 ^^^^ ^^^^ 



BILL, " " " 



Scene: A Lonely Place, 
Time: The present. 



THE GLITTERING GATE 

The Lonely Place is strewn with large hlacJc rocks 
and uncorked heer-bottles, the latter in great profu- 
sion. At back is a wall of granite built of great slabs, 
and in it the Gate of Heaven. The door is of gold. 

Below the Lonely Place is an abyss hung with stars. 

The rising curtain reveals Jim wearily uncorking a 
beer-bottle. Then he tilts it slowly and with infinite 
care. It proves to be empty. Faint and unpleasant 
laughter is heard off. This action and the accompany- 
ing far laughter are repeated continually throughout 
the play. Corked bottles are discovered lying behind 
rocks, and more descend constantly through the air, 
within reach of Jim. All prove to be empty, 

Ji/m uncorks a few bottles, 

JIM (weighing OTie carefully) 

That 's a full one. (It is empty, like all) 
l^Singing is heard off left. 

BILL (enters from left with a bullet-hole over his eye, 
singing) Rule Britannia, Britannia rule the waves. 
(Breaking off his song) Why, 'ullo. 'Ere 's a 
bottle of beer. (Finds it empty; looking off and 
downward) I 'm getting a bit tired of those bloom- 
ing great stars down there and this rocky ledge. 
I 've been walking along under this wall ever since. 
Why, it must be twenty-four hours since that house- 
holder shot me. And he needn't havQ done it, 



90 THE GLITTERING GATE 

either, / was n't going to hurt the bloke. I only 
wanted a bit of his silver stuff. It felt funny, that 
did. Hullo, a gate. Why, that 's the Gate of 
Heaven. Well, well. So that 's all right. (Looks 
up cmd up for some time) No. I can't climb that 
wall. Why, it 's got no top to it. Up and up it 
goes. (Knocks at the door and waits) 

JflM 

That is n't for the likes of us. 

BILL 

Why, hullo, there 's another bloke. Why, some- 
body 's been hanging him. Why, if it is n't old Jim ! 
Jim! 
JIM (wearily/) 
Hullo. 

BILL 

Why, Jim! 'Ow long 'ave you been 'ere.f* 

JIM 

I am 'ere always. 

BILL 

Why, Jim, don't you remember me? Why, you 
taught Bill to pick locks years and years ago when 
he was a little boy, and had never learnt a trade 
and had n't a penny in the world, and never would 
have had but for you, Jim. (Jim stares 'vaguely) 
I never forgot you, Jim. I broke into scores of 
houses. And then I took on big houses. Out in the 
country, you know, real big ones. I got rich, Jim, 
and respected by all who knew me. I was a citizen, 
Jim, one who dwelt in our midst. And of an even- 
ing, sitting over the fire, I used to say, " I am as 
clever as Jim." But I was n't, Jim. I could n't 
climb like you. And I could n't walk like you on 



THE GLITTERING GATE 91 

a creaky stair, when everything 's quite still and 
there 's a dog in the house and little rattly things 
left lying about, and a door that whines if you touch 
it, and someone ill upstairs that you did n't know 
of, who has nothing to do but to listen for you 
'cause she can't get to sleep. Don't you remember 
little Bill? 

JIM 

That would be somewhere else. 

BILIi 

Yes, Jim, yes. Down on Earth. 

JIM 

But there is n't anywhere else. 

BILL 

I never forgot yow, Jim. I 'd be pattering away 
with my tongue, in Church, like all the rest, but all 
the time I 'd be thinking of you in that little room 
at Putney and the man searching every corner of 
it for you with a revolver in one hand and a candle 
in the other, and you almost going round with him. 

JIM 

What is Putney? 

BILL 

Oh, Jim, can't you remember? Can't you remember 
the day you taught me a livelihood? I was n't more 
than twelve, and it was spring, and all the may was 
in blossom outside the town. And we cleared out 
No. 25 in the new street. And next day we saw the 
man's fat, silly face. It was thirty years ago. 

JIM 

What are years? 

BILL 

Oh, JM 



92 THE GLITTERING GATE 

JIM 

You see there is n't any hope here. And when there 
is n't any hope there is n't any future. And when 
there is n't any future there is n't any past. It 's 
just the present here. I tell you we 're stuck. There 
are n't no years here. Nor no nothing. 

BILL 

Cheer up, Jim. You 're thinking of a quotation, 
" Abandon hope, all ye that enter here." I used to 
learn quotations; they are awfully genteel. A fel- 
low called Shakespeare used to make them. But 
there is n't any sense in them. What 's the use of 
saying ye when you mean you^ Don't be thinking 
of quotations, Jim. 

JIM 

I tell you there is no hope here. 

BILL 

Cheer up, Jim. There 's plenty of hope there, is n't 
there? (Points to the Gate of Heaven) 

JIM 

Yes, and that 's why they keep it locked up so. 
They won't let us have any. No. I begin to re- 
member Earth again now since you 've been speak- 
ing. It was just the same there. The more they 'd 
got the more they wanted to keep you from having 
a bit. 

BILL 

You '11 cheer up a bit when I tell you what I 've got. 
I say, Jim, have you got some beer? Why, so you 
have. Why, you ought to cheer up, Jim. 

JIM 

All the beer you 're ever likely to see again. They 're 
empty. 



THE GLITTERING GATE 93 

BILL (half rising from the rock on which he has seated 
himself, and pointing his finger at Jim as he rises; 
very cheerfully) Why, you 're the chap that said 
there was no hope here, and you 're hoping to find 
beer in every bottle you open. 

JIM 

Yes ; I hope to see a drop of beer in one some day, 
but I Tcnow I won't. Their trick might not work 
just once. 

BILIi 

How many have you tried, Jim? 

JIM 

Oh, I don't know. I 've always been at it, working 
as fast as I can, ever since — ever since — (Feels his 
neck meditatively and up toward his ear) Why, ever 
since. Bill. 

BILIi 

Why don't you stop it.^* 

JIM 

I 'm too thirsty. Bill. 

BILL 

What do you think / ^ve got, Jim.'^ 

JIM 

I don't know. Nothing 's any use. 

BILL (as yet another bottle is shown to he empty) 
Who 's that laughing, Jim? 

JIM (astonished at such a question, loudly and em- 
phatically) Who 's that laughing? 

BILL (looks a little disconcerted at having apparently 
asked a silly question) Is it a pal? 

JIM 

A pal! — (laughs) (The laugh off joins in loudly 
and for long) 



94 THE GLITTERING GATE 

BILL 

Well, I don't know. But, Jim, what do you think 
I 've got? 

JIM 

It is n't any good to you whatever it is. Not even 
if it is a ten-pound note. 

BILL 

It 's better than a ten-pound note, Jim. Jim, try 
and remember, Jim. Don't you remember the way 
we used to go for those iron safes? Do you re- 
member anything, Jim? 

JIM 

Yes, I am beginning to remember now. There used 
to be sunsets. And then there were great yellow 
lights. And one went in behind them through a 
swinging door. 

BILL 

Yes, yes, Jim. That was the Blue Bear down at 
Wimbledon. 

JIM 

Yes, and the room was all full of golden light. And 
there was beer with light in it, and some would be 
spilt on the counter and there was light in that too. 
And there was a girl standing there with yellow 
hair. She 'd be the other side of that door now, with 
lamplight in her hair among the angels, and the 
old smile on her lips if one of them chaffed her, 
and her pretty teeth a-shining. She would be very 
near the throne; there was never any harm in Jane. 

BILL 

No, there was never any 'arm in Jane, Jim. 

JIM 

Oh, I don't want to see the angels. Bill. But if I 



THE GLITTERING GATE 95 

could see Jane again (points in direction of laugh) 
he might laugh as much as he cared to whenever I 
wanted to cry. You can't cry here, you know. Bill. 

BILL 

You shall see her again, Jim. 

[Jm takes no interest vn this remark; he lowers his 

eyes and goes on with his work, 

BILL 

Jim, you shall see her again. You want to get into 
Heaven, don't you? 
JIM {not raising his eyes) 
Want! 

BILL 

Jim. Do you know what I 've got, Jim.f* 

[Jim makes no answer, goes on wearily with his 

work. 

BILL 

You remember those iron safes, Jim, how we used 
to knock them open like walnuts with " Old Nut- 
cracker "? 
JIM (at work, wearily) 
Empty again. 

BILL 

Well, I 've got Old Nut-cracker. I had him in my 
hand at the time, and they let me keep him. They 
thought it would be a nice proof against me, 

JIM 

Nothing is any good here. 

BILL 

I '11 get in to Heaven, Jim. And you shall come 
with me because you taught me a livelihood. I 
could n't be happy there, like those angels, if I 



96 THE GLITTERING GATE 

knew of anyone being outside. I 'm not like that. 
\_Jim goes on with his work. 

BILL 

Jim, Jim. You 'U see Jane there. 

JIM 

You '11 never get through those gates, Bill. You 'U 
never do it, 

BILL 

They 're only gold, Jim. Gold 's soft like lead. Old 
Nut-cracker would do it if they were steel. 

JIM 

You '11 never do it, Bill. 

[Bill puts a rock against the gates, stands on it to 
reach the loch and gets to work on the lock. A good 
instrument to use is an egg-whipper. Jim goes on 
wearily with his work. As Bill works away, frag- 
ments and golden screws begin to fall on the floor, 

BILL 

Jim ! Old Nut-cracker thinks nothing of it. It 's 
just like cheese to old Nut-cracker. 

JIM 

They won't let you do it. Bill. 

BILL 

They don't know what I 've got. I 'm getting 
through it like cheese, Jim. 

JIM 

Suppose it 's a mile thick. Suppose it 's a million 
miles thick. Suppose it 's a hundred million miles 
thick. 

BILL 

Can't be, Jim. These doors are meant to open 
outward. They could n't do that if they were more 



THE GLITTERING GATE 97 

than four inches at the most, not for an Archbishop. 
They 'd stick. 

JIM 

You remember that great safe we broke open once, 
what had coal in it. 

BILL 

This is n't a safe, Jim, this is Heaven. There 'U be 
the old saints with their halos shining and flicker- 
ing, like windows o' wintry nights. (^CreaJc, creak, 
creak) And angels thick as swallows along a cot- 
tage roof the day before they go. (Creak, creak, 
creak) And orchards full of apples as far as you 
can see, and the rivers of Tigris and Euphrates, so 
the Bible says ; and a city of gold, for those that 
care for cities, all full of precious stones ; but I 'm 
a bit tired of cities and precious stones. (Creak, 
creak, creak) I '11 go out into the fields where the 
orchards are, by the Tigris and the Euphrates. I 
should n't be surprised if my old mother was there. 
She never cared much for the way I earned my 
livelihood (creak, creak), but she was a good 
mother to me. I don't know if they want a good 
mother in there who would be kind to the angels 
and sit and smile at them when they sang and soothe 
them if they were cross. If they let all the good 
ones in she'll be there all right. (StLddenLy) Jim! 
They won't have brought me up against her, will 
they? That 's not fair evidence, Jim. 

JIM 

It would be just like them to. Very like them. 

BILL 

If there 's a glass of beer to be got in Heaven, or 
a dish of tripe and onions, or a pipe of 'bacca she 'U 



98 THE GLITTERING GATE 

^■— ^■^™^— "^W— i*^^^" ■ ' ■■' ■■ ■ ■■■-■■' " ■■■ ■ I I ■ - — .■ M l.-. ■ — ■ I. ■,.,■ II., ■,■■■■■ ,!■ ■■■■■■■ I !■■ 

have them for me when I come to her. She used 
to know my ways wonderful; and what I liked. 
And she used to know when to expect me almost 
anywhere. I used to climb in through the window 
at any hour and she always knew it was me. (^Creak, 
creak) She '11 know it 's me at the door now, Jim. 
(^Creaky creak) It will be all a blaze of light, and 
I '11 hardly know it 's her till I get used to it. . . . 
But I '11 know her among a million angels. There 
were n't none like her on Earth and there won't be 
none like her in Heaven. . . . Jim ! I 'm through, 
Jim ! One more turn, and old Nut-cracker 's done 
it ! It 's giving ! It 's giving ! I know the feel of 
it. Jvm! 

[At last there is a noise of falling bolts; the gates 
'swing out an inch and are stopped by the rock, 

BILIi 

Jim ! Jim ! I 've opened it, Jim. I 've opened the 
Gate of Heaven! Come and help me. 

JIM {looks up for a moment with open mouth. Then 
he mournfully shakes his head and goes on drawing 
a cork) Another one empty. 

BILL (looks down once into the abyss that lies below 
the Lonely Place) Stars. Blooming great stars. 
[Then he moves away the rock on which he stood. 
The gates move slowly. Jim leaps up and runs to 
help; they each take a gate and move backward 
with their faces against it, 

BILL 

Hullo, mother! You there .^^ Hullo! You there.'* 
It 's Bill, mother. 

[The gates swing heavily open, revealing empty night 
and stars. 



THE GLITTERING GATE 99 

BILL (staggering and gazing into the revealed Nothing, 
in which far stars go wandering) Stars. Blooming 
great stars. There ainH no Heaven, Jim. 
[Ever since the revelation a cruel and violent laugh 
has arisen off. It increases in volume and grows 
louder and louder, 

JIM 

That 's like them. That 's very like them. Yes, 

they'd do that! 

The curtain falls and the laughter still howls on. 



THE LOST SILK HAT 



PERSONS 

The Caller 
The Laborer 
The Clerk 
The Poet 
The Policeman 

Scene: A fashionable London street. 



THE LOST SILK HAT 

The Caller stands on a doorstep, " faultlessly 
dressed," but without a hat. At first he shows despair ^ 
then a new thought engrosses him. 

Enter the Laborer, 

THE CALLER 

Excuse me a moment. Excuse me — but — I 'd be 
greatly obliged to you if — if you could see your 
way — in fact, you can be of great service to me 
if — 

THE LABORER 

Glad to do what I can, sir. 

CALLER 

Well, all I really want you to do is just to ring 
that bell and go up and say — er — say that you 've 
come to see to the drains, or anything like that, you 
know, and get hold of my hat for me. 

LABORER 

Get hold of your 'at! 

CALLER 

Yes. You see, I left my hat behind most unfor- 
tunately. It 's in the drawing-room (^points to win^ 
dow), that room there, half under the long sofa, the 
far end from the door. And if you could possibly 
go and get it, why I 'd be ( The Laborer's expression 
changes) — Why, what's the matter.'^ 
LABORER (firmly) 
I don't like this job. 



104 THE LOST SILK HAT 

CALLER 

Don't like this j ob ! But my dear fellow, don't be 
silly, what possible harm — ? 

LAB DEER 

Ah-h. That 's what I don't know. 

CALLER 

But what harm can there possibly be in so simple a 
request? What harm does there seem to be? 

LABORER 

Oh, it seems all right. 

CALLER 

Well, then. 

LABORER 

All these crack jobs do seem all right. 

CALLER 

But I 'm not asking you to rob the house. 

LABORER 

Don't seem as if you are, certainly, but I don't like 
the looks of it ; what if there 's things what I can't 
'elp taking when I gets inside? 

CALLER 

I only want my hat — Here, I say, please don't go 
away — here's a sovereign, it will only take you a 
minute. 

LABORER 

What I want to know — 

CALLER 

Yes? 

LABORER 

— Is what 's in that hat r* 

CALLER 

What 's in the hat ? 



THE LOST SILK HAT 105 

LABOREU 

Yes ; that 's what I want to know. 

CALLER 

What 's in the hat? 

LABORER 

Yes, you are n't going to give me a sovereign — ? 

CALLER 

I '11 give you two sovereigns. 

LABORER 

You are n't going to give me a sovereign, and rise it 
to two sovereigns, for an empty hat? 

CALLER 

But I must have my hat. I can't be seen in the 
streets like this. There 's nothing in the hat. What 
do you think 's in the hat? 

LABORER 

Ah, I 'm not clever enough to say that, but it looks 
as if the papers was in that hat. 

CALLER 

The papers? 

LABORER 

Yes, papers proving, if you can get them, that 
you 're the heir to that big house, and some poor 
innocent will be defrauded. 

CALLER 

Look here, the hat 's absolutely empty. I mwst 
have my hat. If there 's anything in it you shall 
have it yourself as well as the two pounds, only 
get me my hat. 

LABORER 

Well, that seems all right. 

CALLER 

That 's right, then you '11 run up and get it? 



106 THE LOST SILK HAT 

LABORER 

Seems all right to me and seems all right to you. 
But it 's the police what you and I have got to 
think of. Will it seem all right to them? 

CALLER 

Oh, for heaven's sake — 

LABORER 

Ah I 

CALLER 

What a hopeless fool you are. 

LABORER 

Ah! 

CALLER 

Look here. 

LABORER 

Ah, I got you there, mister. 

CALLER 

Look here, for goodness sake don't go, 

LABORER 

Ah! (Exit) 
[Entefr the Clerk, 

CALLER 

Excuse me, sir. Excuse my asking you, but, as 
you see, I am without a hat. I shall be extraordi- 
narily obliged to you if you would be so very good 
as to get it for me. Pretend you have come to wind 
the clocks, you know. I left it in the drawing- 
room of this house, half under the long sofa, the 
far end. 

CLERK 

Oh, er — all right, only — 

CALLER 

Thanks so much, I am immensely indebted to you. 



THE LOST SILK HAT 107 

Just say you 've come to wind the clocks, you 
know. 
Clerk 

I — er — don't think I 'm very good at winding 
clocks, you know. 

CALLER 

Oh, that's all right, just stand in front of the 
clock and fool about with it. That 's all they ever 
do. I must warn you there 's a lady in the room. 

CLERK 

Oh! 

CALLER 

But that 's all right, you know. Just walk past 
up to the clock. 

CLERK 

But I think, if you don't mind, as there 's someone 
there — 

CALLER 

Oh, but she 's quite young and very, very beautiful 
and — 

CLERK 

Why don't you get it yourself.'' 

CALLER 

That is impossible. 

CLERK 

Impossible.? 

CALLER 

Yes, I have sprained my ankle. 

CLERK 

Oh! Is it bad.? 

CALLER 

Yes, very bad indeed. 



108 THE LOST SILK HAT 

CLERK 

I don't mind trying to carry you up. 

CALLER 

No, that would be worse. My foot has to be kept 
on the ground. 

CLERK 

But how will you get home.^^ 

CALLER 

I can walk all right on the flat. 

CLERK 

I 'm afraid I have to be going on. It 's rather 
later than I thought. 

CALLER 

But for goodness sake don't leave me. You can't 
leave me here like this without a hat. 

CLERK 

I 'm afraid I must, it 's later than I thought. 

(Exit) 

[Enter the Poet. 

CALLER 

Excuse me, sir. Excuse my stopping you. But I 
should be immensely obliged to you if you would do 
me a very great favor. I have unfortunately left my 
hat behind -while calling at this house. It is half 
under the long sofa, at the far end. If you could 
possibly be so kind as to pretend you have come to 
tunfe the piano and fetch my hat for me I should be 
enormously grateful to you. 

POET 

But why cannot you get it for yourself .^^ 

CALLER 

I cannot. 



THE LOST SILK HAT 109 

POET 

If you would tell me the reason perhaps I could help 
you. 

CALLER 

I cannot. I can never enter that house again. 

POET 

If you have committed a murder, by all means tell 
me. I am not sufficiently interested in ethics to wish 
to have you hanged for it. 

CALLER 

Do I look like a murderer .f* 

POET 

No, of course not. I am only saying that you can 
safely trust me, for not only does the statute book 
and its penalties rather tend to bore me, but murder 
itself has always had a certain fascination for me. 
I write delicate and fastidious lyrics, yet, strange as 
it may appear, I read every murder trial, and my 
sympathies are always with the prisoner. 

CALLER 

But I tell you I am not a murderer. 

POET 

Then what have you done.f* 

CALLER 

I have quarrelled with a lady in that house and have 
sworn to join the Bosnians and die in Africa. 

POET 

But this is beautiful. 

CALLER 

Unfortunately I forgot my hat, 

POET 

You go to die for a hopeless love, and in a far coun- 
try; it was the wont of the troubadours. 



110 TPIE LOST SILK HAT 

CAIiLER 

But you will get my hat for me? 

POET 

That I will gladly do for you. But we must find an 
adequate reason for entering the house. 

CALLER 

You pretend to tune the piano. 

POET 

That, unfortunately, is impossible. The sound of a 
piano being unskilfully handled is to me what the 
continual drop of cold water on the same part of the 
head is said to be in countries where that interesting 
torture is practised. There is — 

CALLER 

But what are we to do? 

POET 

There is a house where kind friends of mine have 
given me that security and comfort that are a poet's 
necessity. But there was a governess there and a 
piano. It is years and years since I was able even to 
see the faces of those friends without an inward 
shudder. 

CALLER 

Well, we '11 have to think of something else. 

POET 

You are bringing back to these unhappy days the 
romance of an age of which the ballads tell us that 
kings sometimes fought in no other armor than their 
lady's nightshirt. 

CALLER 

Yes, but you know first of all I must get my hat> 

POET 

But why? 



THE LOST SILK HAT 111 

I cannot possibly be seen in the streets without 
a hat. 

POET 

Why not? 

CALLER 

It can't be done. 

POET 

But you confuse externals with essentials. 

CALLER 

I don't know what you call essentials, but being 
decently dressed in London seems pretty essential 
to me. 

POET 

A hat is not one of the essential things of life. 

CALLER 

I don't want to appear rude, but my hat is n't quite 
like yours. 

POET 

Let us sit down and talk of things that matter, 
things that will be remembered after a hundred years. 
{They sit) Regarded in this light one sees at once 
the triviality of hats. But to die, and die beautifully 
for a hopeless love, that is a thing one could make a 
lyric about. That is the test of essential things — 
try and imagine them in a lyric. One could not 
write a lyric about a hat. 

CALLER 

I don't care whether you could write a lyric about 
my hat or whether you could n't. All I know is that 
I am not going to make myself absolutely ridiculous 
by walking about in London without a hat. Will you 
get it for me or will you not.^^ 



112 THE LOST SILK HAT 

POET 

To take any part in the tuning of a piano is im- 
possible to me. 

CALLER 

Well, pretend you 've come to look at the radiator. 
They have one under the window, and I happen to 
know it leaks. 

POET 

I suppose it has an artistic decoration on it. 

CALLER 

Yes, I think so. 

POET 

Then I decline to look at it or to go near it. I know 
these decorations in cast iron. I once saw a pot- 
bellied Egyptian god, named Bes, and he was meant 
to be ugly, but he was n't as ugly as these decorations 
that the twentieth century can m.ake with machinery. 
What has a plumber got to do with art that he should 
dare to attempt decoration? 

CALLER 

Then you won't help me. 

POET 

I won't look at ugly things and I won't listen to 
ugly noises, but if you can think of any reasonable 
plan I don't mind helping you. 

CALLER 

I can think oi nothing else. You don't look like a 
plumber or a clock-winder. I can think of nothing 
more. I have had a terrible ordeal and I am not in 
the condition to think calmly. 

POET 

Then you will have to leave your hat to its altered 
destiny. 



THE LOST SILK HAT 113 

CALLER 

Why can't you think of a plan? If you 're a poet, 
thinking 's rather in your line. 

POET 

If I could bring my thoughts to contemplate so ab- 
surd a thing as a hat for any length of time no doubt 
I could think of a plan, but the very triviality of the 
theme seems to scare them away. 
CALLER (rising) 

Then I must get it myself. 

POET 

For Heaven's sake, don't do that ! Think what it 
means ! 

CALLER ' 

I know it will seem absurd, but not so absurd as 
walking through London without it. 

POET 

I don't mean that. But you will make it up. You 
will forgive each other, and you will marry her and 
have a family of noisy, pimply children like everyone 
else, and Romance will be dead. No, don't ring that 
bell. Go and buy a bayonet, or whatever one does 
buy, and join the Bosnians. 

CALLER 

I tell you I can't without a hat. 

POET 

What is a hat ! Will you sacrifice for it a beautiful 
doom? Think of your bones, neglected and for- 
gotten, lying forlornly because of hopeless love on 
endless golden sands. " Lying forlorn ! " as Keats 
said. What a word ! Forlorn in Africa. The care- 
less Bedouins going past by day, at night the lion's 
roar, the grievous voice of the desert. 



114 THE LOST SILK HAT 

CALLER 

As a matter of fact, I don't think you 're right in 
speaking of it as desert. The Bosnians, I believe, 
are only taking it because it is supposed to be the 
most fertile land in the world. 

POET 

What of that ? You will not be remembered by geog- 
raphy and statistics, but by golden-mouthed Ro- 
mance. And that is how Romance sees Africa. 

CALLER 

Well, I 'm going to get my hat. 

POET 

Think ! Think ! If you enter by that door you will 
never fall among the foremost Bosnians. You will 
never die in a far-oif, lonely land to lie by immense 
Sahara. And she will never weep for your beautiful 
doom and call herself cruel in vain. 

CALLER 

Hark ! She is playing the piano. It seems to me th it 
she might be unhappy about it for years. I don't 
see much good in that. 

POET 

No. I will comfort her. 

CALLER 

I 'm damned if you do ! Look here ! I don't mind 
saying, I 'm damned if you do. 

POET 

Calm yourself. Calm yourself. I do not mean in that 
way. 

CALLER 

Then what on earth do you mean? 

POET 

I will make songs about your beautiful death, glad 



THE LOST SILK HAT 115 

songs and sad songs. They shall be glad because 
they tell again the noble tradition of the troubadours, 
and sad because they tell of your sorrowful destiny 
and of your hopeless love. 

I shall make legends also about your lonely bones, 
telling perhaps how some Arabian men, finding them 
in the desert by some oasis, memorable in war, won- 
der who loved them. And then as I read them to 
her, she weeps perhaps a little, and I read instead 
of the glory of the soldier, how it overtops our 
transitory — 

CALLER 

Look here, I 'm not aware that you 've ever been in- 
troduced to her. 

POET 

A trifle, a trifle. 

CALLER 

It seems to me that you 're in rather an undue hurry 
for me to get a Jubu spear in me ; but I 'm going to 
get my hat first. 

POET 

I appeal to you. I appeal to you in the name of 
beautiful battles, high deeds, and lost causes; in the 
name of love-tales told to cruel maidens and told in 
vain. In the name of stricken hearts broken like 
beautiful harp-strings, I appeal to you. 
I appeal in the ancient holy name of Romance: do 
not ring that hell. 
[Caller rings the hell, 
POET {sits down, abject) 

You will marry. You will sometimes take a ticket 
with your wife as far as Paris. Perhaps as far as 
Cannes. Then the family will come ; a large sprawl- 



116 THE LOST SILK HAT 

ing family as far as the eye can see (I speak in 
hyperbole). You '11 earn money and feed it and be 
like all the rest. No monument will ever be set up 
to your memory but — 

[Servant answers hell. Caller says something in- 
audible. Exit through door, 
POET (rising, lifting hand) 

But let there be graven in brass upon this house: 
Romance was born again here out of due time and 
died young. (He sits down) 

[Enter Laborer and Clerk with Policeman, The 
music stops. 

POLICEMAN 

Anything wrong here.? 

POET 

Everything 's wrong. They 're going to kill Ro- 
mance. 
POLICEMAN (to Laborer) 

This gentleman does n't seem quite right somehow. 

tABOHER 

They 're none of them quite right to-day. 
[Music starts again. 

POET 

My God ! It is a duet. 

POLICEMAN 

He seems a bit wrong somehow. 

LABORER 

You should 'a seen the other one. 

CURTAIN 



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